Week 11&12: Reality TV

How does Hill define reality TV?

Reality TV is an addiction. I say this with huge emphasis, why? because it has transformed the best of us into taking pleasure in love triangles, competitions, real life dramas etc to the point where we sometimes come to a realization that why did the writers do that? What if that were me? Reality TV is defined by Hill (2005) as being the category that "is commonly used to describe a range of popular factual programming" (p.41). There are a six different varieties of styles and techniques that are commonly associated with reality TV these are: "non-professional actors, unscripted dialogue, surveillance footage, handheld cameras, and seeing events unfold as they are happening in front of the camera" (Hills, 2005, p.41). Early stages of reality TV saw the filming of on scene footage of law and order, or emergency services. Nowadays reality TV has become associated with everyday situations, from people to pets, money and survival as well as life and death (Hills, 2005).

Gone are the days where reality TV was meaningful and was an allegory that made viewers not only watch but feel the emotions of the characters within the programmes. In modern times reality TV has become about the hype, lavish lifestyles, gossip and many more of celebrities wanting to expose their lives on national television where they see themselves as 'famous'. Shows such as Jersey Shore, Keeping up with the Kardashians and many more are real life stories that are usually scripted in order to produce 'good TV'. However is this really the kind of TV we should be exposed to? Cathy Come Home is a prime example of what reality drama is. It is a reality documentary that deals with the idea of poverty and unemployment, where as a result of trying to shelter her kids, social services take them away. This documentary can be compared to the real world in that this is present in society, however no one is filming it because it has become a lifestyle of living. Hill (2005) defines documentary as demonstrated in the example in that "the stance that documentary takes toward the social world is one that is grounded on a belief that it can access the real" (as cited in Roscoe & Hight, 2001).

In demonstrating this kind of documentary Cathy come home gives us as viewers the chance to draw conclusions as to what can really be defined as reality TV. Can it be the fact that issues such as poverty should be a regular theme across reality TV or should writers, producers and directors continue to sugar coat issues that are important in order to increase viewer ratings and continue on the track of producing good TV? Hill (2005) suggests that there is one defining characteristic that "unites the disparate group of programmes that make up the reality genre it is the capacity to let viewers see for themselves" (p.55). Viewers are to make their own judgements on what they see on reality TV and in doing so provides a 'critical viewing position' as to what "other types of factual television within the category of 'reality'' (p.56) is able to be determined as quality TV.

References
Hill, A. The reality genre. In A. Hill, Reality TV: Audiences and popular factual television (pp 41-56). Oxon: Routledge.

Roscoe, J., & Hight, C. (2001). Faking it: Mock-documentary and the subversion of factuality. Manchester, United Kingdom: Manchester University Press.

Week 9&10: Cult TV

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

The role of fans in the construction of Cult TV is identified by Hills (2004) as a "'grassroots' phenomenon, assuming that it is created by fans rather than by media producers" (p.510). It draws emphasis on the fact that cult TV cannot be made or promoted by the media industry, but by the devotion and how the audience intends to interpret what they are viewing. Furthermore Hills (2004) suggests that cult TV has become "centrally important to cult fans lifestyle and identities' (p.517). It has become a part of who they are, where they attempt to account and defend the passion of a fans text, and appreciate and analyse a readers favourite text and simply sticking up for their favoured text against negative portrayals of a fans culture (Hill, 2004). It become a way of life in that fans construct cult TV by way of three methods as identified by Hills (2004) which are:

1. Fans organise tv programmes into a 'intertextual network'- This network allows fans to link to other networks that cover films, programs, books, comics, and other materials (Jenkins, 1992, p.40) that may be of the same genre or may be a different text type.

2. This allows fans to use the term 'cult' as a way of describing the types of networks that has fans following a popular realm of television which covers a variety of genres. In doing so fans are able to be a part of a community group that is able to provide insights into popular texts and cultures that are developed through online fan sites.

3. Through the development of these fan sites, fans of cult TV organises themselves socially into 'Appreciation Societies'. This may be a development overt time of a popular TV programme in which a  fan is inspired to the point where their passion of the TV programme become an obsession for a cult rather than Cult TV.

The fans of Cult TV as described by Hills (2004) gather together for conventions, where they share similar interests about their popular TV programme. This in a sense creates a “communal distinctiveness, working to knit together and sustain a fan culture” through these annual events. An example of fan cultures of the primary text Buffy the Vampire Slayer, which became and is still a popular culture today, is suggested by Postrel (2003) that: Buffy assumes and enacts the consensus moral understanding of contemporary American culture, the moral understanding that the wise men ignored or forgot. This understanding depends on no particular religious tradition. It's informed not by revelation but by experience. It is inclusive and humane, without denying distinctions or the tough facts of life.

For this reason, I believe that Buffy demonstrates the skill of slaying for good rather than evil. The book and TV series have become and is still influencing a lot of the media in today’s society. Moreover New Media in this context increases the activities of fans in which they use internet as a way of easily meeting other fans in a virtual world that allows them to discuss the cult show with each other and blog about what might happen in the episodes that follow. Hills (2004) states that “by making it easier for fans to contact other like-minded devotee, the web increases the possibility of small scale organised fandoms emerging around a wider variety of TV shows” (p.519).

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.

Jenkins, H. (1992). Textual poachers: Television fans and participatory culture. London and New York: Routledge.

Postrel, V. (2003). Why buffy kicked ass: The deep meaning of TV’s favourite vampire slayer. Retrieved October 3, 2012, from http://reason.com/archives/2003/08/01/why-buffy-kicked-ass

week7&8: Science Fiction

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 by Philip K Dick is a novel that draws in the idea of a ‘what if’ glimpse of another world. It is a novel that portrays in what Brown (2001) describes as being “an illusion, that other, better worlds might exist” (p.10). This is a central theme that is demonstrated not only through the main characters of Juliana and Tagomi but also with the book that is mentioned within the novel ‘The Grasshopper lies heavy’ by Hawthorn Abendsen. Brown (2001) identifies that The Man in the High Castle gives us the chance to consider an alternate world, “a reality we are invited to compare with our own” (p.xii). Dick may have done this in order for us as readers to comprehend that the story does not lie within the characters but with the world outside of the story.

Furthermore this idea of true reality into false reality can also be elaborated on through the story within the novel ‘The grasshopper lies heavily’. This story demonstrates an alternate world in which the “Allies won the Second World War” (Brown, 2001, p.xi). This portrays that there are two realities that we can live by, a true and a false reality. However what really defines a false reality? This novel by Abendsen is pivotal in how Juliana envisions the other better world. Her meeting with Hawthorne Abendsen is “a disappointment…and at the same time a moment of conceptual breakthrough” (Brown, 2001, p. x), in that she “changes her perception of reality” (Brown, 2001, p.xi).

It is suggested by Brown (2001) that Science fiction is “about the effects of events on individuals” (p.vii). The elements that conform to the wider generic features of SF through this novel are through an alternate history. There is an alternate universe of the story within the novel ‘The grasshopper lies heavily’ as well as the alternate history of the Allies who won the Second World War against the Axis. This portrayal of these alternate worlds is used as a vehicle to drive the idea that “reality as perceived by both reader and protagonist is a hoax” (Brown, 2001, p.vii).

This can also be demonstrated through Philip K Dicks A Scanner Darkly (2006), where the world that Arctor lives in is plagued with the drug Substance D. He becomes reliant on the drug and is eventually referred to by his superiors as incapable of doing his job as an agent, after extensive testing. He is then taken to a rehab clinic which is also responsible for making the substance D drug. Brown (2001) describes that “Dick [also] used Sci-fi to explore his obsession with meta-physics, the nature of perceived reality, good and evil and the abuse of power”. He also suggests that “his art reflected his life-and it was an eventful, troubled and chaotic life” (p.vii). The elements conformed to the wider generic features of science-fiction is a portrayal of the lives of those Dick experienced and he allows us as readers to consider the realities we live in, and in doing so draw comparisons with the realities present in his novel.

Brown, E. (2001). Introduction. In P. K. Dick. The man in the high castle (p.v-xii). London: Penguin.

Linklater, R. (Director). (2006). A Scanner Darkly. United States: Warner Independent Pictures.

Week 5&6 Anime: What place does animation occupy in Asian societies? How different is this across Asia? (ie comparing China and Japan)

Animation has played a huge role in the Asian societies in terms of occupation throughout the years as stated by Lent (2000) as “animation [that] was fitted [in]to Asian societies and their mass media” (Animation’s fit to Asian societies, para.1). Animation has been recognised as a method that has achieved the goals of the government and bureaus within the Asian societies, mainly within China, Vietnam and the Philippines (Lent, 2000). Furthermore Lent (2000) suggests that animation allowed morals and values to become a part of society through the filming of cartoon characters such as The panda’s shop that portrayed the values of wholehearted service to the people, the exposing of enemies of state as well as portrayed representations of wartime themes such as The talking blackbird (1972) a story that depicts a Vietnamese boy and his blackbird companion who defeat the Americans together (Lent, 2000).

Furthermore Lent (2000) also describes the occupation of animation in Asian societies as being one of great economic significance. Animation brought employment opportunities through the setup of foreign studios and the schemes that were provided such as work-for-hire and co-production scheme in order to bring in more foreign money into the economy. The setup of computer animation firms as well as animation training programs gave opportunities for people within the Asian communities to build up their animation skills in order to produce animation that may achieve success on the global scale.

The animation in Japan in comparison with China is that it belongs to a “‘mass’ or ‘popular culture’” [that is a] “cultural phenomenon worthy of being taken seriously, both sociologically and aesthetically.”(Napier, 2005, p.4). An example of this in Miyazaki’s Princess Mononoke is with the Lady Eboshi. Miyazaki portrays her as good and evil, in her actions towards providing opportunities for those living in Irontown. She is ruthless but she has a genuine compassion for her people. Miyazaki allows us to see that her intentions on killing the deer god is only to provide those in her town many of who were “lepers and former prostitutes she rescued from worst fates” (The critical eye, para. 10), a chance to live for their livelihood. He allows us to make conclusions on Eboshi’s character as someone who provides but kills in order to do so. This can be reflected into reality also when we try to achieve goals that we have set for ourselves. We do everything possible in order to attain the outcome needed in order to succeed. Miyazaki draws in a lot ideas and themes from the outside world, and in doing so he provides us with a chance to become part of the popular culture of anime.

In contrast, anime in China has been seen as educational and provides pleasure to audiences. Chinese animation draws an emphasis on the importance of material that deals with national characters, morals, an originality of the culture and applying human traits to characters (Lent, 2000). Furthermore Lent (2000) describes animation as moulding to Asia “through the use of indigenous artistic styles and techniques” (Animation’s fit to Asian societies, para. 5), also known as the ‘Golden age in animation in China’. Japanese and Chinese anime draw vast differences in terms of its popular culture, it is seen in Japan as a ‘cultural phenomenon’ whereas in China was used mostly for ‘political change’.

Lent, J. A. (2000). Animation in Asia: Appropriation, reinterpretation, and adoption or adaptation. Retrieved September 4^, 2012, from http://www.latrobe.edu.au/screeningthepast/firstrelease/fr1100/jlfr11c.htm

Napier, S. J. (2005). Anime: from Akira to howl’s moving castle: Experiencing contemporary Japanese animation (p.3-14). Hampshire: Palgrave/Macmillan.

The Critical Eye (1999). Princess mononoke: Nature is presented in both its glory and fury in Hayao Miyazaki's epic. Retrieved September 15, 2012, from http://purpleplanetmedia.com/eye/film/mononoke.php

Week 12: The Conceptualisation of Reality

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

Biressi and Nunn (2005) state that “realism depends on notions of suffering, raw experience and personal struggle as emblem of the real” (p.36). As human beings, we tend to look for things or people that we can identify ourselves with. Reality TV and/or documentary-styled television shows are particular genres that viewers tend to identify with the most; due to its closeness to realism. Biressi and Nunn (2005) mention three different documenting styles that help portray the lives of ordinary people; such as, Direct Cinema, cinéma vérité, and Free Cinema. Direct Cinema refers to the relationship between a director/filmmaker and the viewer. A single camera is used to capture footage from a particular point of view, so that viewers can experience what a filmmaker is trying to convey by being one with the camera. Background noise, or ambience, is not edited out to enhance the experience. Cinéma vérité is the style of a filmmaker appearing in their film, interacting with film subjects; for good or for worse. Biressi and Nunn (2005) state that the difference between Direct Cinema and cinéma vérité is that the former is done for the purpose of an unplanned climax, while the latter cuts to the chase, showing its expected climax to the audience. Free Cinema is more of a raw take on the other two styles. Hand cameras are used more, and “real locations” are shot at. In relation to that statement, Biressi and Nunn (2005) report that ‘Free Cinema’ styled documentaries are of a lower budget than the average film, and instead of shooting on set in a studio, “real locations” such as outside on the streets is more of a preferred location.

Cathy Come Home, directed by Ken Loach, was a BBC television play that aired in England in 1966. It was centred on Cathy and her ordeals after her husband’s injury; leading to his inability to continue working, eventually losing his job. Homelessness is the main issue in the film, and although it has fictional characters, the issue of the film is non-fictional. I would describe this film to be a cross-breed of Free Cinema and Direct Cinema. Certain angles and “real locations” are what link to the former, while the latter is the style of the film. Cathy narrates the film, making it seem even more real. The issue of ‘homelessness’ is such a human problem, that the reality of it appealed to the masses.

The three styles that Biressi and Nunn talk about are what I believe to be different structures of how we viewers see reality in a visual sense. The closer to reality a documentary is and the contents it contains, the successful it is in reaching out to viewers.



Biressi, A. & Nunn, N. (2005). Real lives, documentary approaches. Reality TV: realism and revelation. (pp. 35-58). London: Wallflower.

Week 10: Fans and the construction of Cult TV

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

First off, fans will almost always play a pivotal role in the construction of TV shows in any (popular) genre. Most of the time, the creation of different forms of mainstream media and genres are mainly for the consumer’s demand. On the contrary, there are shows that aren’t necessarily created for the ‘mainstream’ audience, and only have a small following ‘dedicated’ fandom. In terms of ‘cult TV fans’, Hills (2004) states that “fans of cult TV have played a part in generically re-organising TV programmes into the category of ‘cult’” (p.517). It’s safe to assume that cult TV fans have had a hand in compiling particular televisions shows under the TV genre known as “cult TV”. Gripsrud (2002) mentions that ‘cult TV’ is linked to the fact that an established fandom’s enthusiasm in a particular “cultural object … takes on a totalizing, defining role in people’s lifestyles and identities” (as cited in Hills, 2004). The genre is not just an interest, it’s a lifestyle.

There are about four steps that Hills talks about, of how fans turn shows into their cult favourites. Hills (2004) reports that the first step in this is that ‘cult’ fans compile television programmes into an “intertextual network”. A discussion among fans is most likely about one common favourite show; but with an intertextual network of other cult TV shows, fans of one particular show are able to have more broad discussions as they can refer to many other shows in the same category. The next step that is referred to is the usage of the word “cult” used to describe a show that is categorised in a fandom’s intertextual network. The word was coined in 1983; during a time where there was no such term to describe this genre. The third step is the organisation of “appreciation societies”. Fandoms of particular shows (cult, in this case) form social groups in appreciation of their favourite shows. Hills (2004) states that these appreciation societies do not necessarily have to be formed right after the debut of a television show; he further supports this statement by listing shows with “appreciation societies” that have been formed after years of a show’s run. Conventions are spawned from this. The final step is that cult TV fans “create a market for memorabilia, merchandise, and props … even long after [a show’s] cancellation and mass-merchandizing of these shows” (Hills, 2004, p.519). These markets are online as well as offline. This last step ties in with the next question of how a fandom’s role of cult TV is linked to new media. The internet has made contact between fans so much easier, and is more convenient. Pullen (2000, p.161) states that it has “[opened] up the boundaries of fandom, allowing more people to participate in fan culture and designating more television programmes … as worthy of fan activity" (as cited in Hills, 2004, p.519).


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.

Week 10: How does Buffy deconstruct the literary notions of good and evil?

“Buffy the Vampire Slayer”, which had its run from 1997 to 2003, was a popular television series that broke many boundaries; one boundary being the line between the conventional portrayal of good and evil in popular media (in this case, Cult TV) during its time. The evolving storyline in the series strayed from depicting the conventional path of good or evil with its main (and minor) characters. In fact, it’s telling of the two natures was quite complex; but really hitting home (something that viewers could sort of relate to, I guess).

According to Braun (2000), the differentiation of ‘good’ and ‘evil’ develops unknowingly in one’s psyche over the years, starting right from the early stages of infancy; he infers this from the studies of psychoanalyst, Melanie Klein. Braun (2000) continues on to mention that our dependence or attachment to a maternal figure (and how they reciprocate) in the early stages of our lives is our first notion of what is ‘good’ and what is ‘bad’. As we grow up in a changing society, our notion of what is good and what isn’t is mentally engraved; therefore, it becomes quite a mainstream idea, especially when that one idea is depicted in all formats of media and/or literature. That ‘idea’ that we all grow up with tends to shape our morals.

So, what exactly does all this talk have to do with Buffy? Braun (2000) states that one of the main themes in the series is “moral inconsistency”; he further states that in Buffy’s world, “good and evil are ever-shifting qualities” (p.67). The ‘good’ and ‘evil’ that society has taught us to differentiate is not exactly applied in the series as the way we would naturally view it. For starters, Buffy is the main protagonist in the series; hence, the name of the show itself. She possesses the qualities that a hero would possess; courageous, strong-willed, a fighter, and everything-else-etc. What sets Buffy apart from the orthodox hero is her appearance. She’s a petite Blonde teenager who kicks a**! How unorthodox can one get? Being the protagonist automatically puts her in the ‘good’ category…..or so we expect. Buffy does sort of shift a ‘little’ bit. She’s a slayer who follows the rules, but the one thing that dips a toe of hers into the ‘bad’ category is her guilty pleasure of being romantically linked to the enemy; vampire(s), Angel (and occasionally, Spike). Buffy herself has her own views on what’s truly ‘evil’ or ‘good’, and Angel is a big factor in that. He is a major influence on her wavering morality, affecting her priorities as a slayer.

Another slayer from the (supposedly) ‘good’ side that I’d like to discuss is Faith Lehane. She, like Buffy, is a vampire slayer who is introduced later on in Season 3, being one of the (later) dwindling numbers of slayers left in the world. Even though heroes are not meant to have (or show) any ‘flaws’, Faith has more than her fair share. I think because of her flaws, viewers are intrigued by the anti-hero who is (at the end of the day) a teenage ‘human’ girl, and people can somewhat relate to that. I would describe Faith as Buffy’s complete opposite; her ‘alter ego’. Here, we’re shown a character that fights for the “good”, but doesn’t necessarily have “good” intentions 99.9% of the time. She’s troubled, damaged, and lonely; quite a complex character. Her rough upbringing is the complete opposite of Buffy’s, and it’s what has shaped her inability to make the ‘right’ decisions. This is where I previously mentioned what Braun stated about knowing what’s ‘right’ from ‘wrong’ during the early stages of our lives. Faith’s life reflects the path that Buffy may have taken had she not had the love and support from her friends and family.

A character from the “evil” side that tends to, on occasion, cross over to the “good” side, is Angel. He is Buffy’s lover and frenemy (friend and enemy, you get the gist). Angel himself has an “alter ego”; and you’d think that a vampire who is already (labelled) ‘bad’ in the series can’t possibly have an “alter ego” or a “bad side”. Due to a curse, Angel’s human soul is trapped in a vampiric (it’s not a word, is it?) body, and one moment of happiness would risk the return of his ‘alter ego’. As expected, it happens. Buffy becomes distraught over this and she starts questioning her morals; no thanks to Faith for making Buffy question herself in the first place. Well, my point is that in the series it’s never too late for a “baddie” to be a “goodie”. Spike, on the other hand, is different. I’m not going to delve into his character, but he is similar to Angel; he’s just more…….careless, I suppose.

What’s interesting about the show is that they’re not afraid to cross that boundary between “good” and “evil”. The two natures are “ever-shifting”, but that’s actually an interesting thing to see. Viewers are fascinated by that, probably because we all live a ‘flawed’ life; in any aspect of our lives, something is flawed. Another cool thing about this show is that the “good” may use “evil” and inhumane means to defeat vampires (and demons, etc.); for example, Willow and her witchcraft, and Buffy and her stake. “Buffy the Vampire Slayer” broke the traditional notion of good and evil, and that’s only one of the aspects of the show that made it so unique.

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