How have game shows influenced reality TV?
Game shows have influenced reality TV in many aspects. Hills (2005) states that “the reality game show has become an international bestseller since its arrival in 2000.” Game shows gained a large amount of audience rating for a number of reasons. Game shows usually have a big prize for the winner and the participators are average people like most of us. Which means it makes the audiences feel like they are taking part of the game, some game shows allows audiences to vote which makes it more attractive for audiences. And for the participators it is a life changing experience, they become superstars if they win and most of them have nothing to lose. The game shows are also for entertainments, people feel relax or happy when watching it.
Game shows are usually broadcasting once a week, audiences need to watch it every week to know who get eliminated and who get promoted. This strategy will ensure there are large amounts of audiences keep watching the host TV channel.
Reference:
Hill, A. (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 15 – 40). Oxon: Routledge.
Monday, October 17, 2011
Sunday, October 16, 2011
week 5
Week 5: is it a high or low cultural genre, according to Napier (2005)? What are some of its subgenres?
In the text, Napier thinks ‘anime’ is a visual art performer. She seems to know that ‘anime’ is better than Japanese counterparts. She points ‘anime’ is a kind of culture with sociology and aesthetics; and ‘anime’ is a mainstream culture in Japan.
However, it is hard to tell whether it is good or not and the way she thinks of Japanese ‘anime’ is in an American’s point of view. Actually, ‘anime’ in Japan is marginal culture; it does still have a big distance to popular culture. She mentions western audiences have been satiated of American popular culture and that’s the reason anime successes in western. In fact, as an American, Katsuhiro Otomo, Hayao Miyazaki and Mamoru Ozu, who have a strong impact but these works could not represent the source of Japanese ‘anime’.
Cyberpunk and mechanica are most popular genres. “Both these genres are particular appropriate one for our increasingly high-tech world.”(p11).
Napier, S. (2005). Why anime? In Anime: from Akira to Howl’s Moving Castle (pp.3-14).Hampshire: Palgrave/ Macmillan.
Friday, October 14, 2011
week 10 ✿
How do you think Buffy has influenced the contemporary vampire drama “True Blood” and the “Twilight” series of novels and films?Honestly, I am not really interest in vampire drama, so I have not seen the Buffy dramas before the class; the only vampire drama I have seen is Twilight, therefore I did some research before I wrote this blog. As far as I see, I think the TV show Buffy the Vampire Slayer has a great influence in the contemporary vampire drama and movies, such like True Blood and Twilight series of novels and films. The influence is demonstrated in several aspects.
Firstly, they are the vampire drama with a continuation series. Buffy the Vampire Slayer can be treat as bellwether of vampire series. Before it there were not many films mainly focused on the theme of vampire. Buffy the Vampire Slayer aroused Audience’ enthusiastic reaction to the vampire drama, thus a new pop culture turns up, such like the Twilight and True blood. Secondly, the idea of that Vampire is not necessarily bad; take the Twilight and True Blood as examples. The vampire - Cullen family is vegetarians rather than blood-suckers. Edward’s father - Carlisle Cullen is a genial and friendly teacher. In True Blood, if it is not Sookie`s timely help, Bill nearly is killed by other human. So these series of vampire films overturned the first impression of the vampire. Thirdly, the romantic relationship between human and vampire is an indispensible factor in the vampire drama. In the Buffy the Vampire Slayer, the love line between Buffy and Angel gives rise to the main contradiction in the Buffy the Vampire Slayer. It happened in Twilight, Isabella and Cullen as well as Sookie and Bill in True Blood. Finally, the mysterious atmosphere is created to attract audience`s attention, who want to enjoy the sense of adventure in the film.
In the conclusion, Buffy the Vampire Slayer plays an important role and influence in the development of latter vampire plays.
Firstly, they are the vampire drama with a continuation series. Buffy the Vampire Slayer can be treat as bellwether of vampire series. Before it there were not many films mainly focused on the theme of vampire. Buffy the Vampire Slayer aroused Audience’ enthusiastic reaction to the vampire drama, thus a new pop culture turns up, such like the Twilight and True blood. Secondly, the idea of that Vampire is not necessarily bad; take the Twilight and True Blood as examples. The vampire - Cullen family is vegetarians rather than blood-suckers. Edward’s father - Carlisle Cullen is a genial and friendly teacher. In True Blood, if it is not Sookie`s timely help, Bill nearly is killed by other human. So these series of vampire films overturned the first impression of the vampire. Thirdly, the romantic relationship between human and vampire is an indispensible factor in the vampire drama. In the Buffy the Vampire Slayer, the love line between Buffy and Angel gives rise to the main contradiction in the Buffy the Vampire Slayer. It happened in Twilight, Isabella and Cullen as well as Sookie and Bill in True Blood. Finally, the mysterious atmosphere is created to attract audience`s attention, who want to enjoy the sense of adventure in the film.
In the conclusion, Buffy the Vampire Slayer plays an important role and influence in the development of latter vampire plays.
Reference
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.
week 6 ✿
Finally, with reference to Cavallaro (2006), what distinguishes Mononoke technically as being – it is generally agreed – a great work of anime?
I’m personally a big fan of Hayao Miyazaki and his animation; also I have seen many of his works, such like “The Spirited Away”(千と千寻の神隠し), “Howl's Moving Castle”(ハウルの动く城) ,and the “Castle in the Sky”(天空の城ラピュタ)and etc. For the Princess Mononoke, it is his earliest works and it belongs to the theme of “Save”.
In Cavallaro’s article; He analyzes the film from a fully angle and ranged vision of content, no matter from spirit and technique. In the contents, he believes that the film’s influence, prestige and popularity in its hometown, it’s a important factor of a successes for a film. This is the charm of the Japanese `s legend, mythology and folklore, and that is why In Japan, more and more people come into the ranks of the traditional tales collection. He also believes that destiny in the film means fight, release and freedom. Furthermore, the characters refreshment in the film is successful for they have embodied the kinds of spirit of human; On the one hand, the author shows the irony to the human, and his hopes to the children.
Finally, relying on the high- tech cooperated with the Microsoft, Studio Ghibli’s CGI Department and the film combines 3D Rendering, morphing, particles, digital composition, texture mapping, and the digital painting. All these techniques are used for a splendid display for the audiences in vision. Above all, it acknowledged the success of the film on this basis.
Reference
Cavallaro, D. (2006). The anime art of Hayao Miyazaki. (pp. 120-130). London: McFarland & Company.
In Cavallaro’s article; He analyzes the film from a fully angle and ranged vision of content, no matter from spirit and technique. In the contents, he believes that the film’s influence, prestige and popularity in its hometown, it’s a important factor of a successes for a film. This is the charm of the Japanese `s legend, mythology and folklore, and that is why In Japan, more and more people come into the ranks of the traditional tales collection. He also believes that destiny in the film means fight, release and freedom. Furthermore, the characters refreshment in the film is successful for they have embodied the kinds of spirit of human; On the one hand, the author shows the irony to the human, and his hopes to the children.
Finally, relying on the high- tech cooperated with the Microsoft, Studio Ghibli’s CGI Department and the film combines 3D Rendering, morphing, particles, digital composition, texture mapping, and the digital painting. All these techniques are used for a splendid display for the audiences in vision. Above all, it acknowledged the success of the film on this basis.
Reference
Cavallaro, D. (2006). The anime art of Hayao Miyazaki. (pp. 120-130). London: McFarland & Company.
week 11 ✿
How does Hill define reality TV?
Hill defines reality TV in different ways.
Firstly, he said “The category of reality TV is commonly used to describe a range of popular factual programming. There are a variety of styles and techniques associated with reality TV, such as non-professional actors, unscripted dialogue, surveillance footage, hand held cameras, seeing events unfold as they are happening in front of camera"
Secondly, on page 42 of Hill it says“the most traditional industry term for reality TV is factual entertainment”. I think this is sensible as people usually attracted by things that make them happy which made it the goal for reality TV in the past.
Lastly, Hill summarised that “there is no one definition of reality programming, but many, competing definitions of what has come to be called the reality genre. This is because the reality genre is made of a number of distinctive and historically based television genres, such as lifestyle, or documentary.” It is not possible to define what reality TV is in just one sentence. Reality TV includes too many types of genres which combine several TV genres and they include everything from everywhere.
Reference:
Hill, A. (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and
Popular Factual Television. (pp. 15 – 40). Oxon: Routledge.
Hill defines reality TV in different ways.
Firstly, he said “The category of reality TV is commonly used to describe a range of popular factual programming. There are a variety of styles and techniques associated with reality TV, such as non-professional actors, unscripted dialogue, surveillance footage, hand held cameras, seeing events unfold as they are happening in front of camera"
Secondly, on page 42 of Hill it says“the most traditional industry term for reality TV is factual entertainment”. I think this is sensible as people usually attracted by things that make them happy which made it the goal for reality TV in the past.
Lastly, Hill summarised that “there is no one definition of reality programming, but many, competing definitions of what has come to be called the reality genre. This is because the reality genre is made of a number of distinctive and historically based television genres, such as lifestyle, or documentary.” It is not possible to define what reality TV is in just one sentence. Reality TV includes too many types of genres which combine several TV genres and they include everything from everywhere.
Reference:
Hill, A. (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and
Popular Factual Television. (pp. 15 – 40). Oxon: Routledge.
week11
How does Hill define reality TV?
Hill defined the reality TV in three dimensions; television industry, scholars, and audiences. He states that the television industry is “flexible in its categorization of reality TV”, because popular factual programming can fit lots of traditional categories. However, he mentions that television industry pushed reality TV to create new hybrid formats. I think the Television industry tends to classify these popular factual programs due to the benefits these programs generated.
Hill also argues the TV scholars define reality TV tends to under the “realty genre” and include a variety of television genres, but it can be in danger of genre overload. Hill (2005) points that the audience classifying reality TV according to fact criteria, because they want to see what is actually happening. Their definition in relation to reality is connected with their individual understanding of the performance.
Within these discussions we can see that, reality TV seems to attract viewers, because reality TV creates a reality atmosphere for viewers. However, although the non-professional actors, unscripted dialogues, surveillance footage bring us the factual feeling, the cameras are the eyes of the producers to decide how to capture their valuable on-site scenarios.
Hill, A. (2005) The reality genre. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 14 – 40). Oxon: Routledge.
Hill defined the reality TV in three dimensions; television industry, scholars, and audiences. He states that the television industry is “flexible in its categorization of reality TV”, because popular factual programming can fit lots of traditional categories. However, he mentions that television industry pushed reality TV to create new hybrid formats. I think the Television industry tends to classify these popular factual programs due to the benefits these programs generated.
Hill also argues the TV scholars define reality TV tends to under the “realty genre” and include a variety of television genres, but it can be in danger of genre overload. Hill (2005) points that the audience classifying reality TV according to fact criteria, because they want to see what is actually happening. Their definition in relation to reality is connected with their individual understanding of the performance.
Within these discussions we can see that, reality TV seems to attract viewers, because reality TV creates a reality atmosphere for viewers. However, although the non-professional actors, unscripted dialogues, surveillance footage bring us the factual feeling, the cameras are the eyes of the producers to decide how to capture their valuable on-site scenarios.
Hill, A. (2005) The reality genre. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 14 – 40). Oxon: Routledge.
Thursday, October 13, 2011
Week 9
Week 9
What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?
According to Hills (2004), the cult TV fans are distinctive, because they support their TV programs with their loyalty. They can organize or reorganize TV programs into an intertextural network and describe them in the term of “Cult”. They also form their appreciation society to maintain the cult status. Moreover, Cult TV fans contribute the fan-fiction and fan talking enrich their cult culture. So, we can find that such Buffy’s success largely due to the fans loyal support and love. I think, the most impressive influence is that the fans permeate the cult elements into their daily life. When these influences become widen enough in the society, the certain element could become a social culture trend. As a result, the Cult TV itself becomes mainstreamed super popular and the fandom would be bigger and the interaction and activities can be more rich and colorful. Therefore, I think, a smart media producer might pay more attention on the fans activities to monitor audience interests.
The new media played a great communication role in the fandom. For example, the internet provides a big platform for the fans. The virtual spaces such as E communities, Twitter, Facebook, gather the fans to share their ideas and comments; blogs and fan space are the good places for the fan-fiction writing. Furthermore, the cult TV Videos and audios transmitted among the smart phones bring the fans the show updates and comments; the e magazines publish the fans works and activity announcements etc. These various Medias are the important communicate medium between the fans. I think, the media is open to everyone, the nonfans and different Cult TV program fan group can participate in the discussions as well. This not only helps to promote certain TV program but also helps to distinguish the “cult TV” from other genres.
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.
What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?
According to Hills (2004), the cult TV fans are distinctive, because they support their TV programs with their loyalty. They can organize or reorganize TV programs into an intertextural network and describe them in the term of “Cult”. They also form their appreciation society to maintain the cult status. Moreover, Cult TV fans contribute the fan-fiction and fan talking enrich their cult culture. So, we can find that such Buffy’s success largely due to the fans loyal support and love. I think, the most impressive influence is that the fans permeate the cult elements into their daily life. When these influences become widen enough in the society, the certain element could become a social culture trend. As a result, the Cult TV itself becomes mainstreamed super popular and the fandom would be bigger and the interaction and activities can be more rich and colorful. Therefore, I think, a smart media producer might pay more attention on the fans activities to monitor audience interests.
The new media played a great communication role in the fandom. For example, the internet provides a big platform for the fans. The virtual spaces such as E communities, Twitter, Facebook, gather the fans to share their ideas and comments; blogs and fan space are the good places for the fan-fiction writing. Furthermore, the cult TV Videos and audios transmitted among the smart phones bring the fans the show updates and comments; the e magazines publish the fans works and activity announcements etc. These various Medias are the important communicate medium between the fans. I think, the media is open to everyone, the nonfans and different Cult TV program fan group can participate in the discussions as well. This not only helps to promote certain TV program but also helps to distinguish the “cult TV” from other genres.
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.
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