1)How have the documentary genres ‘Direct Cinema’ or
‘cinéma vérité influenced reality TV and the presentation of the ‘real’?
Discuss in the context of a contemporary reality TV show.
2)How does Hill define reality TV? Describe his definitions in the context of a contemporary Reality TV show.
3)What has the early docudrama (e.g. Cathy Come Home) contributed to the development of Reality TV? Discuss in the context of a contemporary reality TV show.
2)How does Hill define reality TV? Describe his definitions in the context of a contemporary Reality TV show.
3)What has the early docudrama (e.g. Cathy Come Home) contributed to the development of Reality TV? Discuss in the context of a contemporary reality TV show.
ARETA
ReplyDelete2) What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?
Vampire Slayer-Unaired by Pilot Stowe, B. (1996). Buffy, asks for text books, the book that was presented to her was not, what she was looking for the vampire book, Buffy did not request the book, and left in a rush. Buffy claims she just wanted to be a normal person. Buffy, the vampire slayer attacks killing one-by-one. Buffy and Angel making love as she believes that its ok, all of Buffy’s films seem to react to sexuality (Top 10 Unforgettable Buffy), evidence socially repent to forgiveness’ she could admit she cares a lot but she clearly ends up killing the people she loved and care about were actually devils. This would describe how fans organise themselves for TV alert the aim focuses on media fan philosophies and looks into how links into a wider network of magnificent materials, that of novels comics bought into real life.
Although, Angel is older between the two the heart breaking Angel could only admit to leaving Buffy, however, there was no way that she was going to give up on parting with Angel. Buffy and Faith goes into body swap as she states that she wished that Buffy was dead. Interview with Joss Weldon, comments that Buffy in Sunnydale Town she is not a killer, it’s because they are vampires he also comments that buffy kills monsters, devils, creatures that are not of this world, but she does play her amount of sexual scenes, because she feels that she is the chosen one. A gain of appreciation.
Buffy goes through, ‘little miss muffin sat on his traffic the big surprise with Faith. What is significant about Buffy, is her role to appreciate the scene of her opponents, demons are not what they appear to be. Through the narrative device of sexual relationships between human and vampire characters, Buffy the vampire slayer, offers a symbol that potentially undermines existing philosophies of love and sexuality. In addition, Buffy the vampire slayer makes noticeable, although it may seem to create unambiguously ratify, sexual practices. I would suggest that cult TV fans, only be uncomfortable of using the word Cult as in described in networks.
My choice of understanding, Hills, M. (2004). Defining cult fans are the most enthusiastic people, most may argue more than the producers itself or the architects, their level of observances scares me such as it turns into a preoccupation, not the cute more in-depth with the creepy ones. I must admit I felt sort of a cult TV viewer, I did feel infatuated with the show. Either charmed or crazily I go online just to discover other fans views, to how they felt with or how they hated or loved that particular show. I discovered that it did not fit my understanding or time management conceding towards the next episode the following week. However, if I get the time to participate I would just keep admiring Buffy the vampire slayer as a change of appearance. Fans help create cult TV, providing an invaluable resource into shows that is decisive to popular cult TV.
Reference:
Hills, M. (2004). Defining Cult TV; Texts, Inter-texts and Fan Audiences: The Television Studies Reader. London & New York: Routledge.
Stowe, B. (1996). Vampire Slayer Unaired Pilot; Retrieved from https://www.youtube.com/watch?v=WR3J-v7QXXw
Top 10 Unforgettable Buffy; The Vampire Slayer Moments: Retrieved fromhttps://www.youtube.com/watch?v=uKq4SjCPzII
2) How does Hill define reality TV? Describe his definitions in the context of a contemporary Reality TV show.
ReplyDeleteHill (2005) tries to define reality TV by searching what classification and definition has been given in three different perspectives which are Television Industry, Television Scholars, and Television Audiences. However, in the end, after she analyses how each sector has classified and defined reality TV, she reaches the conclusion that “there is no one definition of reality programming” (pp. 55). One of the reason is that the topic of reality TV can be various, “from people to pets, from birth to death” (p. 41). Also, television by its nature “cannabilises itself”, creating new genres by the hybrid of features taken from different genres (pp. 42). Therefore, it becomes harder and harder to categorise those TV shows and put one reality TV show in a particular subgenre. Take the BBC and ITV for example. They keep changing their categorisations of reality TV and the headings for reality shows on their websites, which shows us how creative television producers could be and how fast the scenario of television industry can change.
Hill (2005) also points out that both Television Scholars and Television Audiences have different ways to group reality TV shows and to define reality TV. How one defines it depends on the person’s perspective from different ends and how the person is involved in the genre. For example, Richard Kilborn proposes that we should have the term “reality formats”, rather than “reality TV”, because to him, how the show is produced and what model the show follows during its production is more important (pp. 47). For audiences, they tend to group reality TV shows according to how real it is, which coincides with Corner’s (as cited in Hill, 2005, pp. 48) way to see reality TV as something “between fact and fiction” and Roscoe’s and High’s (as cited in Hill, 2005, pp. 49) way to see documentary as something “in a fact-fictional continuum”. One end is “infotainment or docu-soaps”, which are about information giving and showing what is happening through camera, while the other end is “formatted reality gameshows”, which audiences can tell are pre-plotted (pp. 56).
Hill (2005) in her article provides more definitions and groupings by three sectors; here I only mention a few. She concludes at the end of the article that now we already have different categorisations and definitions of reality TV, and with new technology along with the nature of television, we can expect that it will be even harder to define reality TV in the future, and the boundary between reality genre and other genres will be more blurred.
References:
Hill, A. (2005). The reality genre. In A. Hill, Reality TV: Audiences and popular factual television (pp. 41-56). Oxon: Routledge.
Reality TV
ReplyDeleteHow does Hill define reality TV? Describe his definitions in the context of a contemporary Reality TV show.
Hill (2005) talks about how the treatment of ‘reality’ in reality programming has changed dramatically as the genre has been developing over the past decade to cater for peoples wants and needs, he liberates to state that reality TV in the past has been straight forward and basic, commenting back to when reality TV first started, it was associated with on-scene footage of law and order or emergency services and has now evolved in more recent years broadcasting anything and everything from people to pets and birth to death. I can relate to what Hill (2005) has stated in regards to the genre changing. In today’s society majority of reality TV is fake and is used for pure entertainment, which has been created to be used for what the viewers want to see, following by ensuring it receives large ratings/views to get consumers more interested in watching, in which conducts more money in producing these shows. Hill (2005) continues to state that there are a large variety of styles and techniques that produce reality television in today’s society such as, non-professional actors, unscripted dialogue, surveillance footage, hand held cameras, seeing events unfold as they are happening in front of the camera. Following through towards Hill’s (2005) statement regarding the different categories in which reality television form, which is also commonly known for ‘Factual entertainment’, following on to the different origins of reality TV such as, tabloid journalism, documentary television, popular entertainment and reality game shows. In Hills (2005) article on ‘the rise of reality TV’ he liberates on the significant change throughout the decades, as from the basic TV shows of documentary’s to multiple different architypes that shape up the reality TV industry to date.
In saying that, reality TV began to rise when networks were looking for a quick fix solution to economic problems within the cultural industries, with an increase of costs in production of drama, sitcom and comedy ensured unscripted, according to Hill (2005) he states that reality programming, main formats known for ‘infotainment’, documentary, soap, lifestyle and reality gameshow all began to become recognised and successful in the 1990’s and early 2000’s because they drew on existing popular genres, such as soap opera or gameshows to create hybrid programmes. For example, a popular television programme in today’s society which has become one of the most successful reality television shows is ‘Keeping up with the Kardashians” which first debuted on October 14, 2007 and has subsequently become one of the longest-running reality television series in the country; the twelfth season of the show premiered on May 1, 2016 (Wikipedia, (n.d). Keeping Up with the Kardashians has attracted high viewership ratings, becoming one of the network's most successful shows and winning several audience awards which has led additionally to the creation of numerous spin-off series, including: Kourtney and Kim Take Miami, Kourtney and Kim Take New York, Khloé & Lamar, Kourtney and Khloé Take the Hamptons, Dash Dolls, and, most recently, Rob & Chyna. Keeping up with the Kardashian is a prime example to showcase exactly what reality TV has become, purely for gathering ratings to continue these shows.
References
Wikipedia. (n.d). Keeping up with Kardashians. Retrieved October 21, 2016, from
https://en.wikipedia.org/wiki/Keeping_Up_with_the_Kardashians
Hill, A. (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 15-40). Oxon: Routledge
How does Hill define reality TV?
ReplyDeleteReality TV is an unscripted, factual programming that does not involve professional actions but instead ordinary people that deals mainly with real life situations and events using a variety of styles such as unscripted dialogue and hand-held cameras. The genre has changed overtime. In the initial period of reality TV, it largely focused on 'on-scene footage' for reality shows such as emergency service programs. Today however, there are a variety of reality TV shows and programs which are now associated with peoples lives (Hill, 2005). The reality genre has been diversified with other factors such as talk shows, unscripted dramas, life style shows and prize winning programs. Personally I think viewers find the genre enjoyable and can relate to the shows because it is based on real life people which they can connect to.
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 programs were on, and the differences between reality programs." (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.