Matthew Berridge Pop Genres Assignment 2 - Fanfiction

Chapter One

Emily braced herself against the cool night air, wrapping her black scarf cosily around her neck and hunkering down into her heavy winter coat. She could hear the crowd over in the Christmas Markets oooohing and aaaaahing as the first snow of the season began to fall over Brussels. She was happy to be back here, even if it was just for the night. She loved the atmosphere that the markets provided at this time of year; the sweet smell of the food stalls, the old stone buildings lit up in glimmering greens and reds, kids running around exitedly as their parents examined the available wares. And now with the snow falling, it really felt like Christmas. The voyage from London had been long and tedious – the ferry rocking from side to side as it crossed the gusty channel, and then the train was delayed by the snow, which was somehow missed by the weather forcasters. She carried herself with an air of urgency through the streets, not simply to escape the cold, for she knew that the wood burner at the Labrador Road flat would be on, the kettle whistling away on top, but because she had a message for her adventurous reporter friend Tintin.

As she rounded the corner and saw the light shining through his living room window, she thought about how they'd met. It was at a trade expo in Hong Kong. They were working there as reportors, or at least, Emily was. Staying at the same hotel, it wasn't long before she noticed that Tintin was in fact up to something else. She'd noticed him sneaking around all over the hotel, leaving his room late at night, and turning up to breakfast the next day dog-eyed and almost falling asleep in his porridge. It's not that Tintin wasn't very good at sneaking around, it's just that Emily was smart. She cracked a smile as she remembered thinking that this innocent-looking guy, what with his firey red quiff and immaculatly pressed khaki pants and tailored white shirt, couldn't possibly be a bar-hopping party animal dancing the night away. No, he was up to something else, and she wanted in. They soon became friends, with Tintin seeing something in Emily that no one else had before. She learned that he was in Hong Kong to track down a druggy who had been exporting heroin to Europe. Next thing she knew, they were chasing Chinese drug lords through the sticky, humid streets of Hong Kong. Just the thought of those five days, so hot that her clothes had clung to her like they were lathered in glue, was such a contrast to the cold that enveloped her as she trudged through the street towards Tintin's flat. It had been enough adventure to last her a lifetime.

At last she climbed the steps to his big wooden door and rung the bell. Emily hoped that Tintin's larger-than-life landlord wouldn't be the one to answer. She was a nice lady, but boy-oh-boy could she talk and Emily just needed to see him. She didn't have time to discuss the weather.

At the ring of the bell, a dog started to yap from inside the flat. Snowy, she thought – Tintin's little white terrier, still as excitable as ever.

She could hear the clomp, clomp, clomp of someone coming down the stairs now. Muffled speech. The barking stopped. And then the door opened.

“Emily, mais quelle surprise !” Tintin exclaimed. He stared at her wide eyed and then began to chuckle, realising his linguistic error. Quickly switching to English he said, “What a nice surprise it is to see you!” He pulled her towards him and kissed her gently on the right check, then the left. “And you!” Emily replied. “You look great,” she said, poking him jokingly in the ribs.

Tintin looked down at his attire. He was in blue flannel pyjamas and a fluffy grey dressing gown. Strangely, he was unshaven, his chin covered in short ginger whiskers.

He smiled at her. “I wasn't expecting visitors.... I've just been working on a couple of stories all day.”

“Don't worry, I'm just pulling your leg.” She stuck her tongue out at him as he took her suitcase and she followed him up the stairs.

“What are the stories about?” she asked.

“Ah, pickpockets, car accidents, the usual. I've not had much excitement lately. I mean, I've even started helping the typist with writing up the classifieds section!”

**

At last Emily sat with Tintin in the living room with a big cup of tea and a plate of biscuits. Snowy lay quietly in front of them beside the woodburner.

“Tintin, I'm going to cut right to the chase because I'm quite anxious about this...” she started.

Tintin looked at her, confused. Emily quickly shifted her gaze down to the cup of tea resting on her lap, biting gently on her lip.

When she looked up, Tintin had moved closer. He reached out and rested his hand on her shoulder. “What is it, Emily?” he asked.

“I... I don't really know what it's all about, Tintin.” Emily pulled out the envelope she had been given and told to take to him personally.

“I received this last week. A man came to my office at the London Daily Express and closed the door behind him. Speaking in a whisper, he said it was essential that I take it to you as soon as possible, and that I not read it until I was with you.”

She handed it to Tintin. Holding the brown envelope out in front of him, he just looked at it. Emily wondered what was going through his head. As much as she dreaded finding out what the contents of the envelope were to have in stall for them, she knew it had to be done.

“Go on then, open it!” she exclaimed.

As Tintin started to read the letter, she could see his eyes begin to light up. Indeed, they had made a good name for themselves tracking down those drug lords in Hong Kong, but hadn't it been enough adventure for a life time, she'd said. Surely....

Tintin shot her a glance. He was practically salivating. Here we go, she thought. It looks like Tintin's day job is about to get a bit more exciting... and I'm to be pulled along for the ride as well.

Exegesis

My narrative is a fanfiction based on the Tintin character from Hergé's famous comic strip, however it is told from the perspective of a new character – Emily. For the purpose of this assignment, I am submitting only the first chapter from the story, which consists of just over 1000 words. It is untitled, as a one thousand word limit does not allow for even thinking of a title.

According to Vogler (2004), most narratives share a common structure. This structure is present in many, if not all of the original Tintin series, as well as in my fanfiction contribution. Submitting Chapter One from my story is fitting, as Vogler's idea of structure begins with Act 1, where the “Heros are introduced in the ORDINARY WORLD.” (Vogler, 2004). In my fanfiction, a new character, Emily, comes to see Tintin in his home country of Belgium. He is presented as a normal fellow in his pyjamas. He tells her that he has been working all day, thus he is presented as being in the ordinary world.

Following this, still within Act 1, Vogler (2004) suggests that the hero, which in this case is Tintin, receives THE CALL TO ADVENTURE. In my fanfiction, Emily has presented Tintin with a letter that calls him, as well as her, to a new adventure. Vogler (2004) believes that after the call to adventure, the structure would then call for the hero to appear reluctant and need to be encouraged by a mentor. However, I have challenged this part of Vogler's structure in my own fanfiction as I do not believe that it fits within a Tintin story. Tintin is the kind of character who would never back down from an adventure or a challenge. This is one of the things that many readers enjoy about his character.

With regards to Vogler's idea of “character-types” within narratives, it is clear that Tintin is the “Hero”, as mentioned above. Emily is most likely seen as the “Herald”. Vogler (2004) suggests that the Herald appears in Act 1 to bring a challenge to the Hero and announce change. It is fair to say that one thousand words does not really offer you the chance to establish a new character such as Emily. In Act 1, she does indeed appear as the Herald, bringing Tintin the letter, or the “challenge” but further on in the story, I would have liked to also make Emily the “Princess”, a type of character who the Hero often marries after being sought for.

Reference:

Vogler, C. (2004). The Writer's Journey: Mythic Structure for Writers. Michael Wiese Productions, USA.

Week 3 - How does Attebery (1980) define Fantasy? Find at least five definitions.

The first element that turns a work into fantasy is the presence of elements belonging to the unreal and mystical which defies reality like magic, mythical creatures, characters or object possessing powers we know them not to possess in reality. He states that “any narrative which includes as a significant part of its make-up some violation of what the author clearly believes to be natural law – that is fantasy” (Attebery, 1980). He also describes fantasy as texts which push the writers and readers to consider the possiblity of the impossiblity of the elements that make a standard fantasy story. In other words, in order for a fantasy to work, “a story [must] treat an impossibility as if it were true” (Abberty, 1980). 

Week 11 – How does Hill define reality TV?

According to Hill (2004) it is really difficult to give a precise definition of the reality TV genre because it derives and borrows from a lot of other different genres and the boundaries between those are ambiguous. Reality TV is also constantly changing because it adds new and old elements from other genres all the time which makes it difficult for those who work or study reality TV to actually categorise it. The fact that reality TV offers a wide range of programs in which the boundaries between real-life facts and fiction are blurred makes them more popular with the audience.

Week 9 – What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?

Hill (2004) suggests that the popularity of cult TV shows comes mostly from the fact that fans make them so. In other words, this would mean that a program on TV only works if there are people to watch it. In order to thrive and become famous, a show needs an audience that will love it and ask for more; shows that are in demand usually last longer in the production. Some cult TV shows have been broadcasted for decades and still retain their original appeal; others which production has ended a while ago and do rerun are still famous (e.g cult series Friends). In his words Hill (2004) explains that “cult status arises, ultimately, through an audience’s passion for a TV show”. However fans of cult TV don’t only show passion for their favourite programs they also defend their consumption choices because “cult TV is centrally important to cult fans’ ‘lifestyles and identities’” (Hill, 2004). With the advancement of new media, the rising of TV shows to cult status is even more prominent with the space and time in which shows can be accessed becoming broader.

Week 1 - How might Hergé's The Blue Lotus address or relate to what Said (1977) terms 'orientalism'?

Said defines the term orientalism as the way westerners approach or regard things that are foreign and unknown to them, especially through academic materials (books, research...). In ‘The Blue Lotus’ there are a few elements that could relate to Said’s orientalism. First, there’s a scene in Tintin where a white beats a Chinese man because the latter bumped into him. The violent reaction of this westerner illustrated the general feeling of populations from the West and how they usually behaved or we’re thought to behave toward anyone or anything ‘Orient’ originated. However the scene where Tintin saves Chin from the river depicts a complete opposite image of the ‘white population’. In this scene Tintin tries to explain that not all westerners act the same way. More over while Hergé seems to denounce the treatment of the Chinese, he seems to antagonize the Japanese by describing them as the ‘bad guys’ that invades China.  

Weeks 9-10 Cult Televison

After reading Matt Hills Defining Cult television texts, inter-texts and fan audiences, I am increasingly interested in the idea of an ‘escapist reality’ A key characteristic in creating a ‘cult television show’ is the idea of ‘making fantastical worlds normal’ what intrigued me about this statement, is that almost like a novel, creating fantasy that we can relate to, or in someway escape into is somewhat of a necessity to human nature. It is as if we need to continue finding ways to escape reality, or rather than escape reality, but to subconsciously find ways to enhance reality. This is only idea, but I’m going to further explain this idea with this example ‘This transformation from exotic or extraordinary into homely/ordinary is, I would argue, one of the key ways the cult TV appeals to its audience over time.’ (Matt Hill, Pg51). The idea of injecting fantasy into reality, is also evident in Fantasy novels such as Harry Potter, and the C.S Lewis ‘Chronicles of Narnia’ although in the novels, the two worlds were divided and were passed through ‘portals’ or other forms of magical divides. The interesting thing about ‘Buffy’ is that she lived within the normal world, but fought abnormal creatures until the viewer began to consider it normal. I personally see this as a valediction of sorts as human beings are constantly either consciously or subconsciously curious of what we don’t know, how can we possibly be the only form of intelligence on planet earth? What is after death? And most importantly in reference to Buffy do supernatural creatures exist. Buffy provides almost a safe haven as such for the viewer to satisfy those questions, those fantasy, we are given a somewhat necessary world to escape to, to indulge in our imaginations. Fantasy Literature, Anime and comics provide this for the reader and ‘cult television’ is just another form of that need being addressed, although it is more effective because the viewer can watch as many episodes they choose, and whenever the please. The appeal of cult television is that it is a continuous narrative in which fans can constantly tune into.

Cult television offers their audience an in ‘detail’ experience of the different worlds that is created, instead of reading and imagining what the world’s fantasy authors. We are able to get in-depth detail of what the world looks like, what the characters act like, we are given a more stimulating experience of the world being created.

An interesting example of ‘Cult television’ playing on television now, would be that of ‘True Blood’ which seems to stand out amongst most of the ‘Cult T.V’ in today’s society. It shows direct influences from Buffy for example the main protagonist is a female who eventually finds out she is half ‘fae’ (fairy) the interesting thing about this character is that she embodies the cliché or typical ‘damsel in distress’ stereotype. She is small, blonde, and is seemingly innocent looking, yet when she is encounters mystical creatures such as Vampires, Shape shifters, Werewolves only to name a few, turns into a bad-ass, foul mouth, butt kicking heroine. Who without a doubt always ends up covered in blood. The difference though between True Blood and Buffy is that like all things in life, and time true blood is almost indefinitely an evolution in Cult Television as it delves in even further to human emotion and human psyche and desires. There is also an extremely erotic and sensual element to the series that satisfies human exploration. It is socially aware and has dealt with subject matter such as Religion, Same-sex relationships, Racism, Incest only to name a few. It appears as if no subject is Taboo, which makes it increasingly appealing and controversial. 

Week 3-4

Fantasy is a complex and extremely vast ‘genre’ to try to define, more something to be explored and pondered per say, then clearly defined.

Fantasy is the ‘overt violation of what is generally accepted as possibility’. Fantasy at it’s best provides an escapism from the world in which you physically exist in, and should question your current ideas on what is ‘morally’ ‘physically’ ‘philosophically’ and even ‘spiritually’ correct. It is the formation, and the existence of an entirely new world.  Examples of these are everywhere Harry Potter for example, and the use of ‘magic’ and ‘wizardry’ the ability for humans to possess unique powers that allow them to exist within another world, to come and go between the two as they please, and to control there surroundings. The existence of ‘mermaids’ of ‘elves’ and ‘dragons’ are validated and are considered entirely normal and acceptable whereas in our realities no such things existed. Fantasy provides a sense of escapism for the reader because it is so overtly opposite from our reality’s providing a world of advanced opportunity, where imagination is stimulated. ‘The consistent treatment of impossible as if it was possible” is what attracts readers to fantasy; it questions us morally and intellectually.

‘It can clarify philosophical and moral conflicts, embodying them in story lines that may not be directly applicable to our own complex and muddle lives’.Attebery explores and attempts to explain the influence that Marchen story telling has on fantasy, the ability to create another world that is parallel to the one in which we exist to present stories that attract the reader on both a moral ground and imaginative ground. The stories satisfy all senses and one of the common grounds in which Marchen storytelling, fairy telling, and folklore all have in common is that they are all set in an indefinite time and place. They all have a moral subtext that normally portrays triumph over difficulty.

Fantasy is the sense of wonder it generates suspense. It creates characters that we can relate too, the main characters are usually un-remarkable physically but have strong morals and characteristics that the common every-day person can relate too. For example; Physically Harry Potter, and Frodo are neither physically appealing. Harry Potter wears glasses, and has a scar on his forehead and Frodo is a dwarf. Yet we never fully question the morality of each character, or the fact that ‘their heart is always n the right place’. It is also appealing to us that these ‘common’ characters always have the ‘consistent treatment of impossible as if it was possible’

The creation of another world, and although fantasy does not take place initially in the real world, or take place in the world in which we exist it should represent aspects of our world, or confront us with a truth that we deal with in reality otherwise we would not find it appealing. I would like to discuss further fantasy and escapism and the connection that fantasy and folktale have with escapism and reality.
I believe that fantasy is very much escapism, it allows us to exit reality and to enter a parallel universe. We can read of impossible feats that we could never physically ever see or perform and yet we can stimulate our imagination and our mind with being able to read and create our own worlds within a book. As mentioned in the course book fantasy cannot help but have meaning, and that is what fantasy and folklore/fairytales or share and have in common, the fact that underneath the myth and the fantastical worlds that are created there is always a sense of morality. A lesson is always learnt; a happy ending is always looming in the horizon. The fantasy genre is consistently confronting with themes such as suffering, life after death, immortality, destiny and the future. I believe that fantasy also has some of the most important aspects of reality woven within each story. Some of the most important human values are always present within some of the greatest Fantasy stories. For example Harry Potter, the three most important or main characters within the story, Harry, Ron and Hermione each represented an important trait that eventually contributed to the death of Voldemort and subsequently the happy ending. Harry represented Bravery and strength, he also was overwhelming Independent and quick thinking. Hermione was insanely smart and wise, both in an intellectual sense and in a spiritual sense, she had dignity and was able to stand strong in a world that didn’t necessarily accept the fact that she was “Half-Blood” and Ron, whom I would say was the most interesting to evaluate, is all in all the most loyal, his loyalty to his friends is unwavering, coming from a large family, and understanding values that exist within a family dynamic he was able to create that environment for his two ‘outcast’ per say friends. 

Animation in Asia has been incredibly influential for those reasons, and also the fact that they attracted foreign money through the "work-for-hire" scheme. Which ironically spurred quiet a lot of some of Asia's most successful animation houses and artist's. The influence of Animation in Asia far exceeds animation in almost every other culture because it is almost an extension of society, a pivotal force in Asian Society. In Japan for example, Anime was created and has proven to be a Main stream Pop Culture 'phenomenon'. It has been used for educational purposes. Anime can almost definitely cater for every type of age group, gender and intellect.

Animation is an evolution of cultural practices and Art forms that have evolved. Animation allows the information that has been gained through history to present itself in a direct form to Asian societies weather it simply a subtle influence, it is still there purely through the concept of animation. According to lent (2000) animation was moulded through the use of indigenous artistic styles and shadow theatre for example had localized plots based on literary, religious or folkloric stories. This clearly shows the evident relationship between Animation and Social and or Political themes. A great example of this was the movie "Princess Mononoke" by Miyazaki Hayao which clearly depicted the relationship between human-beings and nature, and the problems that we as humans create that impact the earth. The movie was able to cut through generational lines, and appeal to almost every market. Hong Kong government signed an agreement with Disney, one of the most if not the most influential animation houses in the world, which just shows how lucrative the animation industry is. 

Socially Asian Animation has proven to be extremely influential globally. With the success of Princess Mononoke and almost all of Miyazaki Hayao's films have introduced  western mainstream Society to Anime. Anime in Japan is truly a Main Stream pop culture phenomenon. Japan is a country that is traditionally more pictocentric than the cultures of the west, as is  exemplified in its use of characters or ideograms, and anime and manga fit easily into contemporary culture. They're used for educational reasons and often identify within every type of age group, gender, and intellect. Because it is so vast, and so wide in its content and material.  Anime is quiet easily a global phenomenon, because it is both a cultural and commercial force to be reasoned with. Remarkably approachable to world themes.

How does Hill (2005) define reality TV

According to Hill (2005, p107), “The category of reality TV is commonly used to describe a range of popular factual programming”. This quotation means Reality TV is a program casting with real people, not actors and reality TV can involves various situations and events from people to pets, from nothing to something. Every material for reality TV is closely related with viewer’s life. The people are usually either placed in competition with each other, caught in embarrassing moments (Hill, 2005).

It is not too much to say that reality TV has been developing alongside with development of television. Reality TV has only gained popularity with audience. As a television industry has been developing, it is possible to be applied with various attempts and features of reality TV to television show, especially competition programs for huge prize such as America's Funniest Home Videos and American idol.

 

Reference

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

What does Brown (2001) identify as the central themes and concerns of the novel 'High Castle'?

 

Dick indicates by using Tao, the Chinese philosophical concept, that the world presented in the novel "The Man in the High Castle" is a delusion, and there might be other better world. The idea of the better world is represented in one of the main characters Juliana Frink who is obsessed with the idea. I think this one is relevant to the fact that Dick, who had a thorough knowledge of science fiction, believed it is about "the effect of events on individuals." Then, Brown (2001), suggests that "the empathy with which he wrote about ordinary people in extraordinary circumstances" was the strength of Dick's work (p. 7).

 

The central theme Brown (2001) identified that I've noticed from the reading is a 'changing the perception of reality' and a 'what if' vision of another world which provide readers a chance to compare with their own realities. I guess the way the main theme turned out to be has something to do with Dick having an intensive grounding in philosophy, psychology and religion.

 

References

Brown, E. (2001). Introduction. In Dick, P. K., The Man in the High Castle

      (p. v-xii). London : Penguin.

Week12

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

Some influences from the documentary genre are as follows:

Edgy, shaky camera work – Shaky camera work gives the appearance that whatever is being filmed is actually happening. The characters are moving spontaneously otherwise the camera could be on a track and follow them around. If the characters were being told where to move, like in other genres, the filming would have a smoother appearance as a track or tripod would be used. If the cameraman does not know where the characters are going to go, they would need to constantly hold the camera or place it on their shoulders so they can move straight away with them. This is also used in documentaries as movements are also unscripted.

Participant self reflection (video diary) – Video diaries are becoming a very common feature of reality TV. It is featured in game shows to lifestyle shows. They are used so the viewer can see what the participants are actually thinking; it also helps the audience develop an attachment to the show. This is how we end up finding our favourite characters, which in the end is the reason why the audience keeps on watching, to see how they go. Video diaries are also used in documentaries where the journalist tells us what they think and feel about what is happening, this makes it more understandable and relatable.

The focus on regularity – Characters in the reality genre are all ‘normal’ people, stuck in an extraordinary or just an ordinary situation. The difference between them and the audience is that all the ‘boring’ bits are edited out, just like in documentaries, otherwise no one would watch. But they do focus on regular everyday things like relationships and friendships, just in a different context.

Reference

Hill, A. (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 15 – 40). Oxon: Routledge.

Week.10

In what way is Buffy influenced by the romantic gothic tradition? Yet how does Buffy also provide a contemporary critique of this tradition?



It is obvious that Buffy follow the romantic gothic tradition and renew the narrative in this genre. Especially the homage for that tradition is clear in series of episodes about Adam in 1999 – 2000 which means there are significant connections between this series and Frankenstein by Mary Shelly. For example, the characters has similar tendency. Victor Frankenstein and Maggie Walsh are both scientist who made creature and monster of Frankenstein and Adam are monster who exploring himself. The suffering of Adam and monster is directly links to the theme and narrative of these story that” industrialization and science and their effects on morality” (Rose, 2002). The future of these creature becomes different because Buffy refashioning the tradition. However there are same themes in these stories, Buffy presents’ anti patriarchal and post feminist solution. In other words Buffy refashioning the roman gothic tradition and it comes from the difference between the romantic heroes in these stories. Victor Frankenstein as a hero blind belief for science and disregard the force of nature and refuse the monster despite of he created it. Rose (2002) suggests his malice is a direct result of human community’s rejection to his scientific creation which means he is solitary. He finally could not defeat the monster and lost everything. In contrast of that, Buffy defeat and solved problem with her friends, community and the author of Adam continued to carry on her scientific work. It might be Buffy’s critique or answer for original ideology that solitary romantic hero cannot defeat the evil from social order. The Buffy the Vampire Slayer gives hopeful answer that to deal with community then the evil can defeat by ties. I think it is a crituque or challenge for tradegic tradtion by the author of Buffy

references

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

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

Rose, A (2002) Of creatures and creators: Buffy does Frankenstein, in R.

Wilcox & D. Lavery (eds) Fighting the forces: what’s at stake in Buffy the vampire slayer.

Lanham: Rowman and Littlefield.

How does Hill define reality TV?

What is reality TV?

Reality TV is an unscripted, factual programming that does not involve professional actors (representation of ordinary people) and mainly deals with footage of real events or situations, using a variety of styles, for example, unscripted dialogue and hand-held cameras. The genre has changed over a period of time. In the initial period of reality TV, it largely focuses on 'on-scene footage of law and order, or emergency services', for instance, the Cops and Americans Most Wanted, emergency-service reality TV shows. Today, on the other hand, there are a variety of reality TV shows and programs, associated with everything in people's lives (Hill, 2005). The reality genre has been diversified with talk shows, unscripted dramas, lifestyle-change shows, prize-winning shows and many other competition shows. As far as I know, recent reality TV genre has their shows in countless numbers. I think that viewers find the genre amusing because it's about real-life people and it is literally a reality which might be closely connected to the viewers.

 

According to Hill (2005), there seems to be a number of definitions by television industry, television scholars, and audiences for the genre. "The traditional industry term for reality TV is 'factual entertainment'." (p.42) Also, there are a lot of unprompted definitions by viewers. The similar view that the audiences had on it was 'cameras following people around'. Most importantly, however, "as viewers were left to their own devices as to how to define reality programming, discussion often focused on when the programmes were on, and the differences between reality programmes." (p.50) Here, Hill claims that the scheduling of the popular factual program is a key point of how audiences define the genre. There is no correct or right definition but there is one common thing among the three groups of people. They all desire to "differentiate between the rapidly expanding and somewhat bewildering range of programming that comes under the category of reality TV" and Hill finally suggests that "it is the capacity to let viewers see for themselves." (p.55)    

References

 

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

     Factual Television. (pp. 14 - 40). Oxon: Routledge.

Week 8- What is the difference in emphasis between the terms science fiction and speculative fiction? Which is The Man in the High Castle?

What is the difference in emphasis between the terms science fiction and speculative fiction? Which is The Man in the High Castle? 

 

I think there are many people confuse SF as an abbreviation of science fiction. But, SF is the abbreviation of speculative fiction. Generally, the abbreviation of science fiction is sci-fi. Even if these words seem to have some similarities, there are subtle differences between them. 
 

According to Wikipedia (2012, n.d.), “Speculative fiction is an umbrella term encompassing the more fantastical fiction genres, specifically science fiction, fantasy, horror, weird fiction, supernatural fiction, superhero fiction, utopian and dystopian fiction, apocalyptic and post-apocalyptic fiction, and alternate history in literature as well as related static, motion, and virtual arts.”
 

In other words, this quotation mean speculative fiction is an inclusive type of fiction which involves science fiction and presents happening of unreality. Even though speculative fiction definition holds the genres of science fiction, I think speculative fiction is likely to close a superordinate concept to a fantasy or horror genres, and to have no any possibility of reality. The possibilities are limitless in speculative fiction. Therefore, the main difference in emphasis between them is 'relationship with reality'. It is a similar question about how science fiction different from fantasy that I have posted on week 4.
 

Based on these thoughts,  'The man in the High Castle' is closer to science fiction than speculative fiction. Eric Brown (2001, p.12) said, “The Main in the High Castle grants us an insight into the minds of real. It gives us a what if glimpse of another world, a reality we are invited to compare with our own.” As he mentioned, we can get a chance to visit another world and compare it with our world. So in my opinion is this novel related with a realistic possibilities to break out. Also, even though the history and contents appearing in this novel is very different from the one we knew and beyond our thinking, I am sure this story came from the reality we have experienced and is base on it.

 

Reference

Brown, E. (2001). Introduction. In Dick, P.K., The Man in the High Castle (p.5-12). London: Penguin.

Wikipedia. (n.d.). Speculative fiction. Retrieved October 22, 2012, from http://en.wikipedia.org/wiki/Speculative_fiction

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

To me, since I did not have any idea what is cult TV and how it is created, the 'Cult TV' obviously looks like a genre which is set apart from genres in the mainstream such as fantasy, science fiction and other popular shows on TV. Generally, cult TV shows would be differentiated by an uncommon and ground-breaking material, I guess, for example, improved roles for women like the heroine character, Buffy in Buffy the Vampire Slayer. By just looking at one of the definitions of cult, 'fan practices and activities' by Hills (2004), I would notice that fans are an indispensable part of the genre.

According to Hills (2004), a group of dedicated fans, participating in such activities as online discussions and engaging with subsidiary texts related to a cult program, express their fandom through it. Hills continues by saying the engagement of fans positions "cult TV as a 'grassroots' phenomenon, assuming that it is created by fans rather than by media producers." (p.510) Development of the genre seems to be dependent fully upon the royal and devoted fans. In terms of fan activities on TV shows, I think it affects not only for the cult TV genre but for other genres in some degree as well. For example, I’ve seen fans of soap operas, talk shows, reality TV shows in Korea conducting activities a lot such as commentaries, discussions, blogging on certain TV shows and it also would have affected them somehow.  

A lot of fans get into a broader fan community with an intertextual network, including many other programs, books, films and so on. This is because without the references and comparisons to the intertextual network, it would be hard for fans to discuss about certain programs (Jenkins, 1992 as cited in Hills). Besides there are many more fan activities such as commentaries, fan fiction, episode guides to sustain its fandom. These activities can be carried out as fans can re-view their favourite shows as much as they can, which results in fans accumulating their knowledge about narratives, characters as well as production details. This would affect the primary text of a certain program. Hills (2004) further states that cult fans have organised Appreciation Societies and assemblies to share their thoughts and interests. As such conventions provide a spectacular visibility, fandom of cult can be "stereotyped and represented in media coverage". (p.519)  

New media such as virtual spaces enables the fans to post their thoughts, opinions and fanzines which create a relationship between a primary text and the fans. The internet makes much easier for fans to gather each other and do activities together that could lead to fandoms possibly appearing in a wider variety of TV shows. Therefore, such media seems to activate those fan actions. However, we need to be aware of something at this point. Getting into group discussions on the internet easily doesn’t mean that everyone is welcomed because they might have a superficial knowledge thus lack of an interpretative competence (Hills, 2004)

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

Week.8 According to Mountfort (2006), what role does the I Ching have as an organisational device in the structure of High Castle? How does the use of this device illuminate the character of the novel’s protagonists?

According to Mountfort (2006), what role does the I Ching have as an organisational device in the structure of High Castle? How does the use of this device illuminate the character of the novel’s protagonists? 

There is the rule in I Ching that used as an organizational device in the structure of High Castle.

In other words, the rule found in I Ching is also important techniques of Dick’s writing such as High Castle. That rule is about the junctures in the novel which control the characters action in story such as what and how they behave and what result comes out from their action. Dick consult about his novel by I Ching and finally regard it as the device in structure of high Castle which the critical juncture may appear to uninitiated readers as a little more than prominent and picturesque subtext (Mountfort, 2006). Moreover, the critical juncture formed as ten oracle consultations that the result comes out after the character ask oracular question. These constitution and function as his Meta narrative may prove the enigmatic in the storyline hence these are the organizational device for construction. Furthermore, that device illuminates the hidden fate-lines of characters. For example, the oracle consults to one of the main character Frank Frink is about his ex –wife Juliana Frank results to the chapter which warns “The maiden is powerful. One should not marry such a maiden” so he receive a sign before he met with her. There are several more oracles that suggest the relationships or futures of characters results later which means the oracles are the turning points of characters in story. In conclusion, his use of organization device make story easier and attractive.

references

Brown, E. (2001). Introduction. In Dick, P.K.,

The Man in the High Castle (p.v-xii). London: Penguin.

Mountfort, P. (2006). Oracle-text/Cybertext in Philip K. Dick’s The Man inthe High Castle.

 Conferencepaper, Popular Culture Association/ American Culture Association annualjoint conference,

 Atlanta, 2006.

(week 11-12)How does Hill define reality TV?

How does Hill define reality TV?

How did Hill define reality tv? commonly that reality tv are described to have a range of popular factual programmes, as in fact that there are a few varieties of styles and techniques that associates with reality tv, as which a few examples such as non-professional actors, unscripted dialogues, surveillance footages, handheld-cams, and seeing events reveals to what’s been happening in front of the camera as over the decades the reality programmes has been developed in terms of its genre’s. to look back that Hill also mentions that “the early stages of the genre, reality TV was associated with on-scene footage of law and order, or emergency services.” (Hill, 2005)

As in recent reality tv shows it is now associated with anything and everything, from a wide range from people, pets, from birth to death. And furthermore Hill also states that “the process of categorizing reality TV highlights the inherent problems for the television industry,scholars, and audiences in defining genre…as with multiple generic participation and constant regeneration.” Hill (2005) as hill discussed some following sections regarding to reality tv as which to consist in terms by the Tele industry, the audiences highlights etc.

As television industry is an area where to chart the changing genre’s of reality tv. as it increases its new formats as broadcasting, news, current affairs and documentaries. In observation that the public service and the commercial networks can continue to flourish its popularities in factual programming as such without diminishing the traditional facts regarding its programmes.

As reality TV became categorized under a few headings as for examples a reality gameshows it categorized to be in as Entertainment such as (fear factor) and another such a lifestyle programmes it comes under lifestyle category (my house my castle) and the lists keeps going. Thus the classification for the genre’s is dependent on what companies they are working for within the television industry.

As in terms of Tele Audiences as Hill states that “given the variety of categories for reality TV used within the television industry, and by television scholars, it is no surprise that television audiences have several definitions for reality programming.” Hill (2005). As the definitions of reality programmes such as people programme, documentaries of the real life etc. as the viewers perceive the general contents of a popular factual programmes. In this case that for example as cameras follow people around, and also people getting evicted etc. as Hill states that “when conducting audience research with viewers of reality TV, one of the first issues to overcome was to find a neutral category for reality programmes. As such that viewers were left to define reality programmes and discussions are often targeted of when a programme is on TV. and also from this it illustrates the significance of scheduling and the subgenres within the programmes to target the audience awareness and evaluate of popular factual televisions.

Reference

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