I watched The X-Files,
Roswell and Veronica Mars when I was younger, and they were among the popular shows
on TV at the time, tuning in almost every Friday night/Sunday afternoon. Today,
these shows tend to come up every now and then in conversations, online, in
mailers and even back on TV as reruns. And there’s a reason for this – these shows
are considered cult television, given the complexity of the nature of its
characters and narratives, which are influenced by the supernatural and the
ordinary; and the mass fan following that these and other similar shows have
reaped during and after production. Although both points make cult television
unique and compelling, it is the latter in which fans are a major part of the
construction and continual success of this variety of television.
Cult TV comprises of a number of literary genres or texts – a mix of the popular and the canon, usually of the paranormal, science fiction, horror nature combined with the soap opera-ish, coming-of-age storyline; thus, it is difficult to pinpoint or singlehandedly label cult TV to a particular genre since the narratives are designed intricately and imaginatively (Hills, 2004). This ties with the broadcasting/distribution side of television where major networks/channels have a specific agenda of airing fitted, high-end shows that are significant to Western life socially, politically and economically; and for a series to showcase anything of “The Other” would not be positive, unacceptable for the majority of the public to see (Hills, 2004).
Cult TV comprises of a number of literary genres or texts – a mix of the popular and the canon, usually of the paranormal, science fiction, horror nature combined with the soap opera-ish, coming-of-age storyline; thus, it is difficult to pinpoint or singlehandedly label cult TV to a particular genre since the narratives are designed intricately and imaginatively (Hills, 2004). This ties with the broadcasting/distribution side of television where major networks/channels have a specific agenda of airing fitted, high-end shows that are significant to Western life socially, politically and economically; and for a series to showcase anything of “The Other” would not be positive, unacceptable for the majority of the public to see (Hills, 2004).
The blend of genres contains conventional elements, the regularities of life that characterises our lives in the real world, from which it is assimilated into the rare, nonhuman-like being of the individual, so the viewers are able to follow a character’s journey, relating to them through the highs and lows, as well as his or her needs and wants e.g. even as a vampire slayer, Buffy still deals with problems like every other young adult, such as that of her relationship with Riley, who loses the mother figure in his life, Professor Walsh and ultimately, himself as he is unable to cope emotionally and physically (without the drugs to effect the herculean abilities) and accuses Buffy for Walsh’s murder out of his own insecurities (Petrie, 2005). Therefore, Buffy is regarded as “The Other” – a young woman from the suburbs with feminist tendencies and superhero abilities (Hatch, 2011).
This sense of familiarity and fascination with these elaborate, extraordinary realms and characters heightens the fans’ participation, becoming knowledgeable and appreciative of the functions and features that the plot(s) are structured within (Hills, 2004). This resonates with me, and probably others also, as I find the distinctive and the unconventional intriguing and for shows that are not “prim and proper”, it is by interest that one would immerse themselves in learning about these inventive, illusory narrative worlds – as a way to figure what, how and why things are problematic and making attempts to fill in the gaps when it is impossible to do so - another common trait of cult TV which attributes to the unreal, unexplainable theme that the plot and characters are created in (Hills, 2004).
The vast level of interest among fans in cult TV has exceeded beyond the couch and the television set – avid viewers cultivate activities to express their love for shows of this kind, enthusiastically and habitually engaging with and informing others of updates, facts, interviews etc. through print publication (independent sources/guides), live events/gatherings, discussions, markets etc. Hills (2004) points out to justify the fans’ actions as a way of connecting with the show, by keeping up-to-date or wanting to know specifics in advance in regards to the episode plots, production, characters and the cast. With the various communication platforms/channels available today, new or digital media is an essential part in fans building and maintaining support bases and networks for cult TV shows, after or in-production. Therefore, forms of new media such as the Internet and video games enable to enhance or fulfill the fan’s experience of their favourite TV show, out of educational or personal interest.
References
Hatch, J. (2011). From Buffy
Summers to Elena Gilbert: How Millennial Convergence Interacts with Third-Wave
Feminism and Enlightened Sexism in the Vampire Television Show. Movable Type, E 3.1. Retrieved from http://www.movabletypemedia.com/2011/12/from-buffy-summers-to-elena-gilbert/
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
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
Petrie, D. (2005). BBC - Cult - Buffy - Doug Petrie, Buffy
Producer's guide to season four - Goodbye, Iowa. Retrieved September 29,
2012, from http://www.bbc.co.uk/cult/buffy/interviews/doug/iowa.shtml
Outstanding post, Kate, and well referenced too. In what way to you think cult TV, cult fiction as a whole perhaps, tells us about our culture: Any cultural production is a measure of the culture that produced it. Do you agree?
ReplyDeleteThe statement is thought-provoking – if you think about it, it tells us that the Western culture is cyclical; in the way that we educate and challenge ourselves through products/services we encounter everyday in our lives. It's our decisions and actions that we either accept, recreate, or dismiss these products/services. The process doesn’t change since it’s cultural, perhaps innate; but it is the developments of production that have influenced our perceptions of reality. I suppose cult literature/fiction feeds our unconscious minds, our desires to be far from what we are/have, and still remain in the real world – with mass media and technology dominating Western culture, maintaining this balance of or blurring reality and fantasy rationalises the need for ordinary people to consume products/services as well as for markets to sell these products/services (Featherstone, 1993). Cult TV works in the same way, as a source of entertainment where more low-end, cable networks are established to produce shows for their target audience (Hills, 2004). I think finding the truth or meaning in the things we have or see is neither comprehensible nor visible, particularly in this day and age. We are equally capable and responsible for what we contribute to our culture and the effect, negative or positive, that our decisions and actions have on ourselves and others.
ReplyDeleteReference(s):
Featherstone, M. (1993). Cultural Production, Consumption, and the Development of the Cultural Sphere In R. Münch and N. J. Smelser (Eds.), Theory of Culture (pp. 265-90). Berkeley, CA: University of California Press.
Hills, M. (2004). Defining Cult TV; Texts, Inter-Texts and Fan Audiences In R. C. Allen & A. Hill (Eds.), The Television Studies Reader (pp. 509-523). London and New York: Routledge.
Hello, kate.Very in-deapth analysis of the primary text. I agree with your idea that the viewers of cult tv follow a character's journey and they really want to be a part of the show in some sense. I believe that's why fanfiction is a popular inclusion on many websites.
ReplyDelete