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

Week 12-Reality TV

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

So many shows that we see on television today are dominated by reality television. Reality television is a genre that tries to portray something that is 'real' to the viewer by following a subject through whatever situation whether it be passing time, following day to day life, or following subjects that are in extreme situations . For example if we look at extreme situations in 'Survivor' we follow subjects who have been put on an island. They must compete in intense challenges and vote team mates off the island. However, 'Survivor Tocantins' member Erinn Lobdell said that while she was on the exile island sound crew handed her a lighter to start a fire. She was then filmed by the crew holding wooden sticks as if she 'made the fire herself'. After the release of Lobdells statement CBS, predictably, responded to all of this with a non-answer: “Survivor producers follow a very strict protocol to never interfere with reality, that includes helping or hindering with life on the island". I believe that many reality television shows that we see today are not 'real' at all. I believe they are highly scripted, staged and played out for the camera and we are manipulated to believe something is 'real'. 

John Grierson who invented the term documentary described the document process as a "creative treatment of actuality"(p.36). In the 1930s Grierson was one of the first to depict normal everyday people on television. Documentary influenced reality television in the way that we enjoy watching ordinary people on television. It is interesting watching people that we can relate to on television rather than constantly seeing famous people. By watching these people we some how get a little break from our own lives by watching others. For example when Big Brother was on I remember thinking to myself who can I relate to? Which person am I most like? How would I be in that situation? Big Brother was a huge hit internationally and it had such a simple concept. Why not chuck a few people in a house and film them doing everyday things. However, it is not as simple as this. Before going in to the Big Brother house there is a huge process which you have to go through. Matt Hoffman former Big Brother house mate gives a tip:
"You're getting cast on t.v be a character"
This means everything. The producers of the show would not put nice/calm/polite people in a house and film them as this would be pretty boring. Producers cast contestants who have big personalities and are going to create drama as this will give ratings and hook in viewers.

When we watch a documentary we explore the mysteries of actual people in actual situations. Within documentaries there are different modes that are used which reality T.V have adapted into their own genre. Firstly a documentary can be expository where they provide a 'voice of god' or 'evidence'. Reality TV often shows 'evidence' in their shows. For example when Dr.Phill proves guests wrong that come on the show with photographic evidence that they have been 'cheating' etc. The observational mode is another element from the documentary genre which reality television has adapted. There are long takes, no narration and it is present tense. For example in Jersey Shore there is no narration at all the guests are the only ones who talk. Their lives are filmed each day while they are in the house, night cameras are even used. I enjoy observational documentaries but completely disagree with the observational element being used in some reality tv shows. I dont want to see what goes on at night between some guests within the house, but producers must think it is necessary to show to guests getting it on. When I saw this I changed channel and thought how sad that this is what is on T.V today. 

Documentary has had a huge influence on some of the very contemporary shows today that are on t.v for example the 'Kardashians'. Firstly I do not even know why they have a show. But thats just my personal opinion, I guess some people love watching a bunch of wana-be famous people doing there groceries and buying nice things.  This show is about an American family living their lives, if there is ever a problem within the family it flicks to an interview of them to narrate how the problem will be solved. A very noticeable change referring to this is how reality TV seems to become more fake and scripted. More and more reality TV shows are being made portraying rich people, which moves further away from Grierson's idea of depicting everyday ordinary people. 

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


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

Week 12: How does Hill define reality TV?

According to Hill (2005) there are different techniques that are used in association with reality TV such as non-professional actors, unscripted dialogue, surveillance footage, hand-held cameras and seeing events unfold as they are happening on film. Even though these techniques are used to some extent such as hand-held camera techniques, surveillance footage and non-professional actors in some reality shows. For example the Jerry Springer show uses a hand-held camera technique, Big Brother uses surveillance on the people living in the big brother house and non-professional actors are used in recent reality shows such as Jersey Shore, Master Chef and The Kardashians. However the technique of unscripted dialogue and seeing events unfold as they happen on film are becoming less realistic. For example many reality TV shows such as Jeremy Kyle, Survivor and The Hills are scripted. This creates more drama within the shows which in turn increases the rating of the show. Events are also now preplanned to occur. This happens frequently in The Kardashians when the mother in the show (Kris Jenner) is shown "secretively" sending a text message to her previous "lover" while she is doing this she is being filmed. This then goes on to cause drama within the family, however a week later the family are back to normal and there are no consequences from sending the text message. Usually is this sort of behavior were to occur it would not be filmed so that viewers and Kris's family would find out as if this was really happening it would not run as smoothly as it did on the TV show.

Hills (2005) also states that there is no one definition of reality TV. This is because the reality genre is made up of a number of different television genres such as drama, documentary and lifestyle. These genres have merged together to to create a number of different genres that fall under reality TV. Cathy Come Home also had a major influence on reality TV. Ken Loache directed Cathy Come Home in 1966 and fused together drama and documentary style, this was a huge break through in reality television and many people could relate to the reality that Cathy Come Home portrays, even 50 years later i can relate to Cathy Come Home and found it still seemed extremely real and saddening to me. I feel as though Laoche captured the reality of homelessness, poverty and a family falling apart extremely well. He also portrays hope throughout the film through the relationships that the actors make, when something is looking up for the family reality takes over and the deal falls through. Loache used techniques such a non-proffesional actors, a hand held camera, black and white film and long still shots which constructs the passing of time. He takes the everyday lives of Cathy and Reg who are ordinary people and shows the reality of homelessness in England. This moved the consciousness of the nation and had a major influence on future reality TV such as Big Brother. Big Brother takes every day lives of ordinary people but places them into a home and watches how they interact with one another, the influence this had form Cathy Come Home was the use of surviellence and interviews that is shown as a voice over in Cathy Come Home.

Finally Hill (3005) believes that if there is one defining characteristic that makes up reality TV is to let the viewers see for themselves. Even though many reality shows are now set up and scripted they still let viewers into their life and show there personalities on screen. This allows the viewers to see for themselves the lifestyle that these actors have such as the Kardashians. The way certain actors react the the situations that they are put in fear factor and survivor do this. I find it really fascinating the amount of demand reality TV gets and how some shows such as True Life have been on TV since 1998 and new seasons are still being created. I also enjoy watching some reality television such as Survivor as i really enjoy the competition of the show and find myself wanting to watch more due to the cliff hanger that the show creates, it leaves me wanting to watch more.

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

Week 11: How does Hill define reality TV?

According to Hill (2005) there is not one concrete definition of what reality TV is. It can be loosely described as surveillance footage filmed with hand held cameras and staring non-professional actors. But Hill further explains, and I agree, as modern reality TV has developed these defining factors do not necessarily apply to reality shows today. For example shows such as 16 and pregnant or survivor don’t use hand-held cameras and the camera work is as advanced as that of film.

  

References:

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

Week 12: Reality TV

According to Hill (2005) “there is no one definition of reality programming, but many competing definitions of what has come to be called the reality genre.  The reality genre is made of a number of distinctive and historically based television genres, such as lifestyle, or documentary.  These television genres have merged with each other to create a number of hybrid genres that we now call reality TV, or popular factual television.”

Hill (2005) defines reality TV as:

• “programming that blurred boundaries between fact and fiction.”
• “a slice of life observational modes of documentary film making, fictional drama rooted in real-life situations”
• “an entertainment idea that can be instantly accessed by audiences/users across different types of media – TV, radio, telephone and the internet.”
• formats “that included a gameshow element”, and “that seek to entertain by showing dramatic incidents in real life”.

After viewing Cathy Come Home (Loach, 1966)  the trend of bringing real-life situations into society’s livings room was very much alive as much as 50 years ago, just packaged differently to today and depending on the producer/ director/ writer’s point of view.

Cathy and Reg in Cathy Come Home had a strange ring for me. In 1960s working class London, my brother and I could have so easily have been Cathy’s kids at that railway station.  But that is the point, I think.  Loach succeeds in grabbing my attention, because I can relate to what he is showing me.   Through angles in the camera, close-ups, side on shots, drawing the camera lens away and towards the characters, use of background noise instead of music eg: traffic, all of which were new techniques at the time, he is able to deliver a docudrama that is very very real to the viewer.  The viewer feels like he/she could actually be on the street beside Cathy and Reg.  The storyline itself depicts a situation that could happen to any of us, and therefore the audience is drawn into Cathy and Reg’s life and surroundings, and feels included, can empathise, and sympathise.  Loach cleverly hit the note with the masses with his docudrama / free cinema technique, and reached out to people pulled out of the rubble of World War II, still trying to shake off the legacy of the generation before.  He brought the reality of present day social issues, ie: homelessness, poverty, love, hope, despair, family solidarity into the living rooms of the masses, with real arguments, real sadness and happiness that anybody could feel at any time. Programmes such as the BBC’s Panorama (1956) and World in Action’s Seven-up (1964) also helped to bring the reality of other people’s lives into our living rooms and were at the forefront of reality TV, as opposed to fictional fantasy TV.

Hill (2005) cites “British popular factual programming is primarily from 6pm-11pm, the most competitive and most coveted slot in the schedule”.  It could be assumed, therefore, that reality TV today is a convenient and cheap method of providing watchable TV to the masses in order to maximize viewership and financial return through advertising, endorsement or sponsorship.

I recently attended an audition for the reality game show, Masterchef NZ.  My reason for applying for a place on the show was a passion for food and cooking. After I had queued for many hours with many other applicants, signed a multipaged contract vow-of-silence, and then was interviewed for only a few minutes, I wondered why I was there.  After all, my motives for being on the show were to cook, but I very quickly understood that there was far more to this reality machine than simply showing people how well I could cook in front of an audience.   This was all about the show and not the food.  Above all, I could see the financial opportunities open to the Masterchef industry by using me as free of charge tool to convey an everyday story about cooking in front of the camera.   Its many applicants seemed driven by a dream that one of them could really win the prizes (and someone would, its just many wouldn’t), but above all become something that they weren’t already, and somehow remove themselves from their everyday existence to touch stardome.   Viewers, I think, buy into this dream, but in a sense the reality is that it is not really going to happen to most.

Reality game shows like Masterchef are a long way away from the reality of Cathy and Reg. I am sure Cathy (nor any of her socio demographic generation) could never have contemplated the thought of a passion for food, just putting any kind of food on a plate was a necessity not a luxury.  Cathy Come Home was filmed in an era where tv was free-to-air, funded by the government and through tv licences.   Today, much of the TV we watch has to be funded through advertising or sponsorship and ratings are important.  Reality TV in all its sub-genres has come along way since the Sixties. I think reality TV today can be used in a good way to convey an important message or point of view to the masses and can also be viewed simply for entertainment, but also in a bad sense it can prey on everyday people’s innocence and trust to simply make money for the industry itself.

References:

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

Panorama: 1956 Behind the scenes view of BBC Television. (1956). Retrieved October 12, 2012, from  http://www.youtube.com/watch?v=2G36AaMDFdM&feature=relmfu

World in action: Seven-up series documentary 1964 Part 1. (1964). Retrieved October 12, 2012, from  http://www.youtube.com/watch?v=ngSGIjwwc4U

Masterchef NZ: (2012). Retrieved October 12, 2012, from http://tvnz.co.nz/masterchef-new-zealand/ta-ent-masterchefnz-index-group-3125704

Defining 'Reality Television'

How does Hill define reality TV? 

Hill summarizes that there isn’t “one definition” of reality TV, but the shows contributing to the genre share things in common, and thus all fall into the umbrella term of “Reality TV.” The genre has it’s roots in documentary programming, talk shows, leisure and instructional shows, game shows, and soap opera, and is kind of a hybrid love-child of the lot of them, as well as a few others.

It is not uncommon for Reality TV to make use of handycam, and “diary cam” confessionals, such as those seen in shows like Big Brother, as well as hidden/candid camera, as if to give the effect that you are able to look in on the lives of others who are not aware they are being filmed and thus must be going about their lives in an unstaged, unscripted fashion. Hill also makes the point that Reality TV doesn’t use professional actors, (unless it’s like a celebrity edition of something like Survivor or whatever. Assuming they have those), or scripts. In fact, you’re not supposed to think of them as actors, to give the illusion they’re just normal people, in a slightly abnormal (depending on the show) setting, just going about their day, who happen to be being filmed for entertainment.

I know that in the show, Jersey Shore, which tries so hard to make you believe it isn’t staged/scripted, the housemates were placed under strict rules, such as that they were never allowed to look at the cameras, or interact with the crew. The cameras were not hidden, but the cast had to act as if they were on candid camera. No cellphones, television, or computers were allowed, their only connection to their family and friends outside of the setting was a tapped phone, and they were not allowed to leave the house or company of the crew unless given permission (It’s really no wonder at all that the show is just a house full of drunks, they weren’t allowed to do much else). While the show may not have been scripted exactly, it was certainly staged.

Reality TV works on the audience’s suspension of belief, and the assumption that the television would never lie to them. Hill states that ‘reality’ programming has “blurred the boundaries between fact and fiction,” and I honestly agree with that. Reality TV depicts false realities, and could be say is just as fictional as any soap opera, from ring-side, spectator seats, whether it be with handycam, video confessional, ignored film crews, or hidden cameras, giving the viewer the sense they are genuinely observing an uncensored, unscripted, honest life unfold before them.

References:

Hill, A. (2005) The reality genre. In A. Hill, Reality TV: Audiences and Popular Factual Television. 

Oxon: Routledge.

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

Buffy deconstructs the traditional literary notions of good and evil by the complexity of its characters. Each of its characters has a multifaceted personality, meaning one person is neither completely good nor evil. Braun (2000) refers to Klein’s theory which states that this mentality that we have is developed from infancy and that we are conditioned to expect and deal with both “good” and “bad” from our close and loved ones throughout our lives. Furthermore, Braun relates this theory to Buffy and Angel’s relationship. In the series the shift of Angel’s character from good to the evil Angelus (and back again) and the change in Buffy’s feeling towards him are firstly caused by sex and then the solution is mirrored and remedied by more  “thrusting” in the form of a sword (Buffy ends up stabbing Angel). The intricacy of the characters in Buffy and their relationships demonstrate that each of them is capable of both good deeds and bad which aptly reflects the complexity of human nature.

References:

Braum, B. (2000) The X-files and Buffy the Vampire Slayer: The ambiguity of evil in supernatural representations. Retrieved 11 October 2012 from: http://www.findarticles.com/p/articles/mi_m0412/is_2_28/ai_64688900

Week 10: How do you think Buffy has influenced the contemporary vampire drama True Blood and the Twilight series of novels and films?

I had never watched an episode of Buffy before the screening that was shown to us. I had heard of the show before though and I remember it being popular when I was younger. However I have seen all of the Twilight films and some of the True Blood series and after watching Buffy in class I could already pick up on similarities and influences that Buffy had on both of these vampire films and series. Although watching Buffy now, it seems a bit dated due to the advance that we now have in technology the monsters look slightly fake. I think i definitely would have watched Buffy if I had the chance to when I was younger and if I get the chance over the break I will probably watch more episodes as I do really enjoy vampire shows.  I didn't realise how much of an influence Buffy had until reading the secondary texts and some articles. Porter (2004) believes that Buffy reinvented vampire myths for this millennium and O'leary (2010) believes that Buffy became one of the most influential television shows of the past two decades and basically invented the TV genre of urban fantasy.

There has been a marked increase in recent years in the number of television shows with a supernatural theme. This trend combines inhuman characters such as witches and vampires with teen angst (Braum 2000). This is shown throughout Twilight and True Blood but is not a new theme as Buffy uses this theme that in turn was influenced by shows such as horror films and teen dramas. However the more recent representations of the supernatural especially in Twilight, vampires are portrayed as being magical and desirable rather than evil. I think that was heavily influenced by Buffy, although there are enemies in Buffy such as the monsters she kills and in Twilight such as the Volturi there is also desire and love interests between both Buffy and Angel and Edward and Bella. Angel and Edward are both vampires but instead of being considered evil and bad both Buffy and Bella and drawn to them and cant help but fall in love with the vampires. Although there is an influence of horror throughout Buffy, i think that the way Buffy has influenced True Blood and Twilight has slightly removed the connotation that all vampires are evil. Twilight and True Blood also have strong female characters that become braver and less naive as the narrative progresses. I think that this was influenced by Buffy as she is shown to be smart, courageous and someone that vampires cannot resist even if they know it is wrong. All three couples from Buffy (Buffy and Angel), True Blood (Eric and Sookie) and Twilight ( Edward and Bella) have sexual tension between each other as all of the vampires do not want to loose control. I believe there are many similarities and influences that Buffy has had on True Blood and Twilight which i find really interesting as they all were similar yet all incredibly successful. Maybe its the forbidden love story that has fans hooked. For me its the brave female characters in all of the series and films which draws me to vampire and supernatural stories and i will be watching more of Buffy when i get the chance.

-->

Braum, B. (2000). The X-files and Buffy the Vampire Slayer: The ambiguity of evil in supernatural representations. Retrieved from:

http://www.findarticles.com/p/articles/mi_m0412/is_2_28/ai_64688900

Porter, P. (2004). Retrospection and anticipation and the cult following of Buffy the Vampire Slayer. Retrieved from: http://www.theage.com.au/articles/2004/06/30/1088488020260.html

O'Leary, T. (2010). Buffy, The Vampire Innovator: How so Many Stories Owe Everything to Joss Whedon. Retrieved from:

http://thetorchonline.com/latest/buffy-the-vampire-innovator-how-so-many-stories-owe-everything-to-joss-whedon/

 

Quick question:

Did anyone find the film 'Cathy Come Home' really depressing? I walked out of the screening and felt that most of us pretty lucky. Sad that this still happens today though.

Week 10: Cult TV

Cult TV, as cited by Hills (2004), “is not ordinary, run of the mill TV, it is not bland and low-risk TV, since it challenges gender representations, say; it is excessive in its aesthetic mode of representation, being again differentiated from ‘mainstream or realist TV drama”.  Despite seeming outdated and old fashioned, probably because it is after all about 15 years old, the storyline of Buffy itself was and probably still is innovative as it challenged the archetypal female character role.     At the time Buffy must have provided a refreshing change from the typical alpha male lead role, (as portrayed in programmes such as The A Team, The Incredible Hulk, The Six Million Dollar Man.  A chirpy blond schoolgirl who stands on her own two feet, is the saviour, or slayer of all things bad and evil, in this case. The series seemed to spark a new trend for tough battle-hardy central female roles in TV, Xena the Warrior Princess, True Blood, Vampire Diaries.

Hills (2004) cites that Cult TV “typically runs in seasons of 24 episodes and often features end-of-season cliff hangers.  This type of seriality seems to support fan practices such as intense speculation over plot (especially across the summer break)”.  Is that how the cult, or following, begins, people get hooked because they can’t wait to see the next episode, can’t stop talking about the last episode all week in anticipation of the next?  As Hill (2004) cites “fans also produce commentaries, fan fiction, episode guides and production histories that all work to sustain the distinctiveness of fandome as a community that read the intertextual network of cult TV shows in a characteristic way”   This perpetuates the following or cult, and then as Hill (2004) cites “fans of cult TV gather for conventions where they can share their interests.  Again, this creates a sense of communal fan distinctiveness.” They have in effect been living the life of the tv series through fandom, which I am sure the TV stations love, as this can perpetuate the series.

However in a literary sense can Cult TV be quantified as quality TV?  Wilcox and Lavery (2002) cite that “bad television – predictable, commercial, exploitative – simply yields to the forces.  Good television, like the character the Vampire Slayer, Buffy, fights those forces.   For TV to be good, it needs to be unexpected, original, and pushing the boundaries of what is perceived as within the realms of normal tv.” Joss Whedon seems to push the boundaries between good and evil, and shapeshifts his characters (eg: Adam or Spike) in order to hook his audience into an unpredictable viewing at each episode. 

Hills (2004) cites “Cult TV is best thought of as a group of texts, often hailing from the genres of science fiction, fantasy and horror.”  The storyline of the episodes “Goodbye Iowa” and “The I in Team” seemed to be a mix of several genres: romance, fantasy, teen, science-fiction (of its time); perhaps Whedon was punting for a wider viewership by incorporating several genres rather than one.

There is a sense of normality wrapped in the fantasy and sci-fi of Buffy: the group of good friends, living in a normal house in a normal town, doing normal every day things like watching tv, chatting and drinking soda, except for the fact that the place they live in is exceptionally removed from our reality in that it deals with demons, vampires and monsters every week.  Something extraordinarily unusual, in a normal setting with a central heroine who saves the day, because everyone loves the day to be saved.  Maybe that is the key to cult tv.

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

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.