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.