Friday, October 31, 2014

Fan Fiction based on "Cathy Come Home" by Leon Rakete

Fan Fiction based on “Cathy Come Home” Directed by Loach, K. (1969)
‘Tainted skin in a tainted system’
By Leon Rakete


“She’s stirring up trouble” barked Betty the Lodge maitre de. “How dare she accuse our Lodge of being unsanitary, saying it’s making her children sick,” Betty was fierce with anger. It took Mr Wordswood the manager of Newton Lodge in Southwark several minutes to calm Betty down. She seemed to be almost out of breath as she stood in his office, face red with tightened hands. “There there Mrs  Somers, I know you and your staff work very hard for our residence, providing them with the best of care,” Wordswood’s words seemed to dissolve in the dusty office air, even his attempt to place his left arm around Betty’s shoulders to indicate a sense of sincerity was rejected. She pushed his arm away saying, “I’ve had enough Bob, I really mean it this time, she’s so ungrateful, after all we’ve done for her and her pesty little hood rats.”

That morning Cathy had approached one of the Lodge’s staff in the corridor shortly after the breakfast duties were finished. They had run out of soap, she had previously requested new bars over a week ago but nothing had been done yet. “Do you expect us to keep washing our filth off in just hot water? And what about our clothes? You know we use that soap to wash our clothes as well,” she said with a sharp tone. Cathy had never really spoken to the staff like this before, you usually wouldn’t get a beep out of her, but she was tired of being treated like a slum citizen, being looked down on and frowned upon as social failure, like it was completely her fault, as if though she wanted to be crammed into these small lodgings and dependant on welfare.

“Mrs Somers please leave it with me” Wordswood said, “don’t let yourself get twisted in a knot over these people its not worth it. Any way we’ve just had a new resident arrive that you can orientate.” Wordswood ushered Betty towards the reception room where Mrs Sima Shah was waiting with her baby. A small thin Indian woman sat quietly gently rocking a caramel coloured baby boy. Her skin had a rich coffee tint, she wore a tattered blue dress, heavy woollen socks and dated shoes, everything about her seemed a little out of place, beside her was a big black rubbish bag full of belongings.“Mrs Shah is it?” spoke Wordswood, “Yes” she replied, gesturing her to come forward, Wordswood with a smirk on his face said, “Please come in, don’t be shy dear you’ve come to the write place, we’ll look after you.”

This place had changed Cathy, not having Reg around and barely hearing from him had made her feel isolated and vulnerable, in reply she had become a little hardened. Gone were the memories of their nice warm flat in Chelsea, she had felt the walls of this place move in on her, and though everything in her had sworn she was not going to be her parents her life was inevitably mirroring theirs.  As a child Cathy recalled how her family moved frequently, in fact It seemed to be a generational cycle. Her parents spoke of how they had moved from central London after Cathy’s Grandparents home was destroyed in the London bombings during the war, first to the west and then out south London as new housing settlements popped up. They struggle to find work and were unsuccessful at getting back on their feet, so they never really settled for very long. Now Cathy struggled with the thought that perhaps she was the biggest failure of them all.

This place wasn’t just changing Cathy but she had noticed a change in the other residents, they would come in optimistic even hopeful, but it wouldn’t be too long before the sparkle would diminish, talks of the future would die down and cynicism would settle in. Cathy in particular had noticed Sima one of the immigrant residence starting to isolate herself. On the whole the ladies generally didn’t mix much with her kind, some of the ladies regarded them as ‘poachers’ and blamed them for the housing shortage. Rumours had surfaced about a staff member harassing one of the immigrant residences but due to their second-class status in this place none of the ladies cared much.

It wasn’t till Cathy herself came across Sima in the communal bathrooms lying prostrate on the floor in tears, Sima’s English was poor but Cathy didn’t need to understand her language to know something was wrong, she helped her up and back into her dorm asking her all the way what happened? All Sima would utter was “Please no say…my baby…no where else to go.” Cathy helped her settle into bed. Returning to her room feeling agitated and disturbed by what she saw, Cathy cried herself to sleep that night.

Cathy woke the next day to discover the ladies talking about an Indian woman who had being evicted in the early hours of the morning. She rushed to Sima’s room to discover it empty. In the corridor outside the ladies were saying Wordswood had accused her of accommodating her husband in the night and kicked her out first light. “Rubbish!” Cathy blurted out, this was the last straw, she ran down to Wordswood’s office bowling right past the receptionist, cracking his door open and slamming shut behind her. 

She tried to hold her composure but with tears running down her face Cathy looked Wordswood dead in the face and said “You! It was you.” “Now, now Cathy” Wordswood replied, “We don’t want any more trouble here today.” Seemingly unshaken by Cathy’s accusation Wordswood rose from his desk to stand tall over her, “You know the Lodges protocol on marital arrangements, residence know full well our policies when deciding on coming to our residence, they agree to them by accepting our offer of placement, Sima forced my hand by refusing to abide by these conditions.”

Cathy couldn’t believe what she was hearing, these people were supposed to be helping them not taking advantage of them.  Starring straight past Wordswood façade of false humility and propriety and ignoring his egotistical stance Cathy reciprocated, “You preyed on her like a wild beast, exploiting her vulnerability, she trusted you and you betrayed her,” pausing for a minute to consider the implications of what Cathy knew could proceed next if she continued down this path, she realized if Wordswood could get rid of Sima he could easly get rid of her and her two little ones but it wasn’t right. Considering how the welfare system wasn’t just failing them but leveraging off them, an indignation rose inside of Cathy, with fear and trembling she looked Wordswood straight in the eye and said “I’m not going to let you get away with this.”

Fan Fiction Commentary

With all reality TV there is a blur between what is fact and what is fiction, and though by nature a fan fiction is purely a fictional retelling or an addition to an existing canon, I wanted there to still be an element of truth to this piece to show it still sat in the Reality TV genre. Therefore I spent some time looking over reviews of “Cathy Come Home,”particuarly reading about what the writers and producers were trying to achieve with the story, how they weaved fact and fiction together to communicate a strong message, and the social awareness agenda they had with the piece.

One review of the film comments on Loach’s reflection saying, “he realised the drama raised a social issue in the context of personal tragedy  but failed to outline the political causes…” As I looked further in to the debate of what caused the housing shortage many fingers pointed towards the Rachman administration of 1960. Rachman symbolized exploitory landlordism and the liberalization of rent control. Further research revealed London housing in the early 30’s and 40’s suffered greatly because demand was high from the bombing of houses in world war 1 and the shortage of materials to rebuild. There was also a push to relocate and establish housing outside of central London, which came to be known as the ‘London Overspill.’ These new settlements quickly resulted in what was recognized as the ‘London Overspill Slums,’ caused by rapid unrbanisation and population growth, creating over crowding and unhealthy living conditions. Alongside this large-scale immigration from Western India caused significant racial tension. I wanted to capture some of these contributing factors and bring awareness to them in my fanfiction.

I decided to create a hero archetype in the Cathy character, I felt the original film left her quite powerless but in my opinion she was a strong character and I wanted that to come through some how. I decided to establish a Antagonist in the character Wordswood who my Hero (Cathy) would eventually have a face off with at some stage.  I wasn’t too sure why or how this was going to occur but eventually I decided to use the racial tension happening at the time of the issue to be the vehicle in which a battle could take place.

We see in the first paragraph Cathy starting to cross the First Threshold, it’s the first time we see her in conflict with the Villain, it’s at this moment where she decides shes had enough of her circumstance and feels a inner call to make a change. This feeling continues to build for her till she encounters Sima in the bathroom, I would say this becomes a turning point for her, not necessarily taking her in a new direction but escalating the call to do something. The story from this point starts to move with some serious momentum and pushes it towards the climax point.    

You never really know exactly what part (if any) Wordswood plays in Sima’s ordeal but I felt not to label it too much rather leave it to the reader to interpret how they saw. For me it mirrored the injustice around the broken welfare system, people were suffering but those responsible seemed to be hard to pin point, and therefore change seemed to be distant and seemingly unreachable.


Resources 















How does Hill define reality TV? Describe his definitions in the context of a contemporary Reality TV show.

How does Hill define reality TV? Describe his definitions in the context of a contemporary Reality TV show.

Reality TV means verbatim reality TV. It`s like a real world TV not including star actors, fiction, any story, such as dramas or movies, but actual story of humans. These days, reality TV becomes a wide range of audiences among a lot of male and female. Goodari (n.d.) states that, today, reality TV includes a wide range of audiences’ age, from 16 to 49 years male and female. This current fad has made reality TV as more familiar to us.

According to Hill (2005), there is no exact definition about the reality TV, because the reality TV is composed of various genres such as variety show, drama, opera, sport, and so on. These genres have merged together to create a number of different genres that fall under reality TV. That is, reality TV is a catch-all category that includes a wide range of entertainment programmes about real people. Reality TV is located in boundary line, between entertainment and information, drama and documentary. Reality TV can also be called hybrid genre taking thematic elements from drama programs, romance from soaps, competition from games shows and visual style from documentaries. I think that reality TV is also called as the most postmodern of TV genres, because it`s new genre only in these modern days.

Furthermore, Hill (2005) says that if there is at least one defining characteristic existence, then reality TV is ready to go on the air for audiences. Even if much reality programmes are now set up without script and story, they can just let show into their life and personalities on screen.

There is a lot of famous reality TV shows in the world. For example, American got talent, dancing 9, Survival, millionaire matchmaker and so on. In this opportunity, I would like to introduce a couple of Korean reality TV shows. Firstly, the one of the most famous reality TV in Korea is ‘Super Star K’. Super Star K is similar to ‘American got talent’ and ‘dancing 9’. This is kind of audition show. Many various classes people participants as a challenger to become a singer. There is no script and story only sings a song by given mission. The other famous reality TV is ‘Human story’. This programme introduces the ordinary human story, ‘how to succeed’, ‘how to get over’, ‘how to live’, etc.

References

Goodari, A. (n.d.). Reality TV. Retrieved from http://www.academia.edu/4417268/Reality_TV


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



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

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

Cult TV can be defined as a group of texts, often hailing from the genres of science fiction, fantasy and horror. Cult TV is constructed through inter-textuality. This is very important point to understand between the relationship of fans and cult TV. In cult TV, secondary texts or inter-texts play a significant role in providing additional information about the cult TV programme. Thus, fans role have occupied more powerful thing in cult TV. Fans play not just watching TV, but they can reflect their own opinion and create own genre for cult TV. In other words, fans are important role in cult TV. That is, cult TV`s fans are not passive people unlike the other genres. They take an active role in cult TV, because through secondary texts that activates the meanings and associations of cult TV for audiences. Cult status also arises through an audience’s passion for cult TV. Thus, cult TV has become centrally significant to cult fans identities and lifestyle.

About the role of fans in the construction of cult TV, Hills (2004) asserts that “'grassroots' phenomenon, assuming that it is created by fans rather than by media producers" (p.510).
It means that cult TV can`t be developed or promoted by only producers, but by the effort and dedication of fans cult TV can evolve in succession. However, being a fans of cult TV doesn`t mean only having devotion and enthusiasm. It means that, at least, “being able to attempt to account for and defend one`s fans passions; being able to analyse and critically appreciate one`s favoured text; and attempting to ward off negative portrayals of fan cultures” (Hiils, 2004, p. 517).    

Moreover, Hills (2004) states that the fans role of cult TV assemble one another for conventions, where they exchange a matter of common interest about their cult TV. This communication creates a communal distinctiveness, working to knit together and sustain a fan culture through these annual events.

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.

What was does Dick (1995) himself theorise about the I Ching?

What was does Dick (1995) himself theorise about the I Ching?

Philip K. Dick uses the I Ching method, which is also called ‘Book of Changes’ and the oldest ancient Chinese divination source, in his book, 'The Man in the High Castle'. The I Ching can be defined as fortune-telling. That is, it provides advice or solution about one`s current problem or question for people, who use the I Ching. Thus, many people use the I Ching as their decision maker. The I Ching is being used still these days commonly, in both Eastern and Western country people. Dick is known for the representative person as the I Ching user. Actually, Dick also truly depends on the I Ching. The I Ching plays an important role in The Man in the High Castle, because Dick believes that the I Ching can enrich not only the development of plot but also the development of storyline in the book. He is a close adherence about the I Ching. “How I can extricate myself from my morbid dependence on the book?” (Dick, 1995, p. 182). According to Dick`s theorise (1974), the I Ching provides advice beyond the particular, advice that transcends the immediate situation. What this means is that; the answers have an universal quality. Dick applies the I Ching not only his life but also his book. There are several both poles in the I Ching, such as ‘day and night’, ‘good and evil’, ‘good and bad luck’, generally speaking these can follow the positive and negative poles. However, Dick believes that the I Ching can improve any result in his book, whether the result come out optimistic or pessimistic, because if the outcome appears positive, the readers will feel a sense of relief, allowing them to satisfy. On the other hand, if the outcome appears negative, it is also relief to some degree, because readers can prepare and anticipate about the fears then understand justified it. Dick writes the book by using this method. He thinks that this technique go about improving the story of book. The book is created by pieces of this sort of I Ching method. Thus, readers can have the peace of mind and also interesting when they read it.

References

Cover, B. (1974). Vertex Interview with Philip K. Dick. Retrieved from http://www.philipkdickfans.com/literary-criticism/frank-views-archive/vertex-interview-with-philip-k-dick/


Dick, P.K. (1995). Schizophrenia and the I Ching. In Sutin, L. (Ed.), The Shifting Realities of Philip K. Dick (pp.175-182). New York: Vintage


Sci-fi...

How does 'A scanner darkly' relate to science fiction?
(RESPONSE TO A SCANNER DARKLY, NOT A DISCUSSION THREAD QUESTION)

'A scanner darkly', directed by Richard Linklater is based on the novel by Philip. K Dick and falls into the science fiction category quite well. The ideas represented in this novel/film are those of which are seemingly believable. Firstly, how do we define science fiction? "Science fiction is a genre of fiction in which the stories often tell about science and technology of the future. It is important to note that science fiction has a relationship with the principles of science—these stories involve partially true-partially fictitious laws or theories of science. It should not be completely unbelievable, because it then ventures into the genre fantasy." (ReadWriteThink, 2005) This statement ties in well and provides an accurate summary of what 'A Scanner darkly' connects with, for example science and technology.

In the film there are 'scrambler suits' which disguise people by changing their appearance to show numerous different people. The suits also change the individuals voice, making it impossible for others to know their real identity. There is also an addictive drug named substance D which is responsible for causing people to go insane, and whilst the 'law enforcement' is against it they offer it to their undercover cops which has a devastating effect on one in the end.

'A scanner darkly' presents a dark world with suspicion, there is no trust and there is a reoccurring theme that shows someone is watching. This is seen with the security cameras that are everywhere and there is an all knowing presence where people have to be cautious with what they say and do.

Though these themes may seem far fetched, they present to us a possibility of what our future may look like, and this is the main definition of science fiction. As technology improves there is no limiting what may happen and 'scrambler suits' or 'people watching others' may definitely become true as technology advances. As we see in the film the law enforcement is corrupt and this presents the audience with a question "what will we do if our world becomes like this?" For an audience films like this create fear as we realise we might be helpless one day as there is no trust and because there have been events in the past where higher places of power have been found to be corrupt the ideas seem realistic.

This is why 'A scanner darkly' fits well in the sci-fi genre. It is believable and presents themes that are known to have happened on a lesser scale. In some way sci-fi films are just a representation of our possible future.

References:

ReadWriteThink. (2005). Definition of Science Fiction. Retrieved from http://www.readwritethink.org/files/resources/lesson_images/lesson927/SciFiDefinition.pdf

Fantasy..

How is science fiction different from fantasy, according to Le Guinn (http://www.ursulakleguin.com/PlausibilityRevisited.html)?

According to Le Guinn there is a distinct difference between the two genres sci-fi and fantasy. It's easy to get the two confused as they share similar characteristics and features of film techniques. From reading 'Plausibility Revisited' (2005) a simple way of defining the two is that sci-fi is fiction based on reality, a possibility or example of realism. Le Guinn mentions 'Such a close correspondence of the real world and the fictional world is a defining characteristic of realism. It is not a defining characteristic of fiction.' The believability in which sci-fi films have is key in the success of the film. Sci-fi is a genre that contains facts which conveys realism more. Generally the films are normally based on real events so therefore it isn't so far fetched for example 'District 9' with the 'prawns' being a metaphor for  the victims of the apartheid. Sci-fi presents the consequences our actions may have in the future and that is what makes it a believable genre, it showcases the unknown and plays with our fears and imagination. Le Guinn also mentions 'Fiction is what didn't happen, but realistic fiction pretends that it did. Realism uses actuality and history, inserting invented characters in amongst real people and places...'.

Fantasy is different however, according to Le Guinn. Fantasy unlike sci-fi isn't based on realism, it can range from extremities and still be just as successful. Le Guinn says 'There is no agreement to pretend that its story happened, might have happened, or might ever happen. Its invention is radical.' This is where our imagination can run wild, the films thrive on possibility and audiences like it as it can be somewhat escapism from the real world. Le Guinn explains that 'Fantasy is shamelessly fictive. Some people feel it's wicked to invent something God didn't think of. Others see it as a waste of time. And to others, fantasy is an exercise of what may be our most divine and certainly is our most human capacity, the imagination.' The wizard of Earthsea fits in the fantasy genre undoubtedly. It displays a mythical island that is far from ever being reality and characters who are mystical and magical.

References:

Plausibility Revisited. (2005). Wha Hoppen and What Didn't. Retrieved from http://www.ursulakleguin.com/PlausibilityRevisited.html

Thursday, October 30, 2014

Buffy the Vampire Slayer

How do you think Buffy has influenced the contemporary vampire drama "True Blood" and the "Twilight" series of novels and films?

In 1997 Buffy aired as a series up until 2003, for 6 years the sensation influenced much of the genre proving to the world that the use of Monsters, Vampires and Demons was out of the ordinary, something in which was rarely done before targeting all types of viewers.

Buffy has always been based on the moralities and issues that I personally feel other viewers can relate to like social identity and cross-cultural and religious views. The Tv show was one of the first in years to bring back the trend of Vampire myths and legends while at the same time incorporating more modern themes and social ideas making it easier for the audience to connect with. At first while watching Buffy I wasn't a huge fan of it until I took into consideration how much of an impact it had on popular series and films nowadays like Twilight and True-Blood. In Twilight there are supernatural aspects in which may have been influenced by Buffy. For example Buffy aims to slay as many vampires as she can keeping the human race not to mention herself safe from harm, where as in the first Twilight movie the fight for Bella's safety is the aim but Edward must challenge his own kind.

This creates a more modernised version for a contemporary vampire drama due to the slight change in battles between humans and vampires. Nowadays films like Twilight and True Blood aren't so strict on who 'must' be the hero or the villain but more relying on who 'deserves' to be the good or bad guy. Buffy the Vampire slayer sets the barrier high to an extent where writers and directors of Twilight as well as True Blood can  learn from. "I wanted people to internalise it, and make up fantasies where they were in the story, to take it home with them, for it to exist beyond the Tv show." as quoted by Joss Whedon himself.

In conclusion Buffy influences both Twilight and True Blood through its classic rivalry of both worlds and the fight for what is right and according Wilcox (2002) it dares to take risks, it is honest and illuminating, it appeals to the intellect and touches the emotions and provokes thought.

references

Wilcox, R. & Lavery, D. (2002). Introduction, in R. Wilcox and D. Lavery

Josh Whedon The Tenacity of the Cockroach 375


Princess Mononoke

What is the 'Shojo' and how does it often function in an anime?

The 'Shojo' is often played by a (young) female character, someone who through the works of Miyazaki establishes more than a single role but one with many characterisations. The Shojo is a symbol of the trials and tribulations that a woman during the time of the Japanese political era  for example had trouble dealing with. Cavallaro (2006) states that "Miyazaki's films hold cross-cultural and universal relevance." The equality of woman were minimal, Miyazaki addressed issues such as these capturing the real importance of how writers and directors could really change the world of anime, while at the same time make an impact on societies view of the female race.

The Shojo must go through an obstacle, a mission in which they hope to find peace for them self, if not then for her people. It begins with a decision, a choice to make the biggest move that could impact not only herself but everyone else. In Princess Mononoke 'San' fights for the land as well as her family, which are a pack of wolves. On the opposing side a village just wants to protect their own and take over more of everything with their weapons. Like the wild and untamed nature of San I guess the character could be a depiction of how womans rights were fought for but yet its still a minority due to the amount of power and authority held by politicians and most of the 'male' race.

Napier (2001) clarifies that the Shojo is identified as an innocent, pure, attractive, feminine type, and even though San maybe an uncontrollable girl she creates the hero which is also common for a shojo to be strong willed and powerful, not to be mention she is pretty. In Spirited Away (2001) Chihiro (Sen) is the perfect example of what a Shojo should be. Firstly she is young, she is very pure as she helps and serves many demons/ spirits even though her parents have been taken away as well as her name. She too fights, for the freedom of her parents she must undergo the challenge of defeating the evil sorcerer  and regain her identity back.

In conclusion the Shojo is what gives the anime a purpose, a storyline or plot line. It's the Shojo that can possibly create and yet end the conflict between rivalries in Miyazaki's films. It is often them whom we seek victory and peace from. Like San the Shojo's are the ones who fight, the hero whom succeeds in changing things. The redeemer.


references:


Cavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki (pp.5-13). London: McFarland & Company. 









The 'shojo'..

What is the ‘shojo’ and how does it often function in anime?

The shojo in Japanese culture is the definition of 'little girl' and is a character portrayed in anime that is targeted to females between the age of 10-18 years of age. The term 'shojo' first came out around 1903 with Japanese magazines targeting young females, the term became more popular as the 'shojo' was a female character that predominantly was focused on relationships. This therefore influenced many story lines of anime to include a 'shojo' representing character as it was popular at the time and could cross into different genres.  In many films the 'shojo' character conveys themes that can be brought out to be emotionally relatable. For example in 'Princess Mononoke' the 'shojo' was San or the wolf girl who had an implied love relationship between Ashitaka and also a relationship with nature and animals. Lady Aboshi was also a character that identifies with the 'shojo' audience as she challenged the sexual position of power as a woman and helped empower other women, who previously had worked in brothels, to run a town. This shows the empowerment of women that the 'shojo' portrays.

As cited by Susan J Napier (2005) she mentions that 'Timae Prindle says "surely the nations gaze is more and more focused on girls. Girls occupy a distinctive place in Japan's mass media, including film and literature. What fascinates the Japanese is that the shojo nestle in a shallow lacuna between adulthood and childhood, power and powerlessness, awareness and innocence as well as masculinity and femininity." (p.149) this quote explains why the 'shojo' is so important in anime. The 'shojo' can be seen as an independent girl who is growing up and coming of age, the target audience will like watching it as they too can relate to wanting to feel independent and maturing, as well as feeling just as capable as man.

In many ways I can't help but think that the term 'shojo' is also similar to the term 'final girl' who is normally in a horror genre film. I feel that the two go together as they portray a conservative, surviving and fighting character. They each take the audience on a journey of growth or maturity as they set out to conquer or overcome something. I feel that it is good to have such character archetypes in such genres as they are inspiring and somewhat good role models even if it is 'just a movie'. They represent true strength within women and may help us in our own lives by mirroring possible actions that lead to different consequences.


References:

Napier SJ. (2005). Anime from Akira to Howl's Moving Castle: Experiencing Contemporary Japanese.  New York, United States of America: Urban Media Comics.

Miyazaki, H. (Director). (2006). Princess Mononoke. Tokyo: Studio Ghibli Productions.

Tintin and The Blue Lotus


Do you think Tintin are a children's or an adult genre/media ?

Tintin, in many ways opened up a whole new world of animation/image and text. At first the sensation grew to be merely a newspaper's idea to increase the intellectual minds of the younger generation. In the early 1920's silent movies were the trend of the film industry, up until a new form of entertainment and literature came to life providing more than just visual interaction with the viewers, but also educational messages and morals that meant something. Tintin was a great example of a new revolution where comics first started to develop which in my opinion could be a genre for both children and adults.

Firstly I believe that because of its animation and visual content it can be viewed by a younger audience. Take Tintin and the Blue Lotus for example, there are moments of funny characterisations where one of the roles in the comic acts crazy and out of his mind, creating a less serious feeling. Funny, foolish and simple acts like that bring it down to a more humorous and easier text to understand therefore making it possible for a younger viewer to enjoy such an adult based text.

On the other hand there are controversies about the impact it has when it comes to the social and racial awareness making it a bit more complex for a child to comprehend. Viewing material like Tintin and the Blue Lotus, yes in 'my opinion' I believed it to be suitable for both age groups because it wasn't as hostile towards the racial themes as it was in 'Tintin in the Congo'. As described in the NZ Herald (2007) there are indications of 'stereotypical' and 'racial' material referring to issues in which the society in Belgian Congo and all around the world for that matter were suffering with at the time. Farr (1991) clearly states the accuracy of the political 'forthrightness. It would be easier for an adult to have a better understanding and take into consideration the themes and structure of the comic series, where as a child is merely in it for the entertainment.

In Conclusion I would have to say that there are specific elements to the genre that goes for both a child and an adult. Event though a child may not understand the depth and complexity an older viewer would, it's certain that creativity and imagination are lessons which Herge can teach to them. Being a fan of the comic series myself it isn't hard to see how much of an impact 'Remi' has on everyone applying to all age groups.


References:

Farr, Michael. (1991). The Blue Lotus. Tintin: the complete companion (pp.52). London: John Murray.

NZ Herald. (19 July, 2007).



Wednesday, October 29, 2014

How does Hill define reality TV? Describe his definitions in the context of a contemporary Reality TV show.

Reality television can be generally defined as a television programmes that features individuals who are continuously filmed over a period of time that is designed with the purpose of being entertaining and informative (Biressi & Nunn, 2005). Several research has been done to identify and assess possibilities of whether or not reality television could be classified as a coherent genre.

Hill (2005) does not appear to state one specific definition to describe the genre of reality television – instead his approach takes on defining the genre in various phases and contexts. Perhaps one possible reason for this could be the fact that there are debatable discussions towards determining an appropriate genre category and the change in periodic media evolution (Hill, 2005).

He initially starts by generalising reality television as a variety of “factual programming” (Hill, 2005). However, this definition is somewhat contradictory to contemporary reality shows partly due to the various modern changes that have been implemented over a period of time. He states the meaning of the word ‘reality’ in reality television has progressed over time with difference in structure, styles and approaches employed upon a variety of subjects ranging from everything and anything to birth and death (Hill, 2005).

Hill (2005) also focuses on the broken barrier between fact and fiction in the reality television genre. He elaborates this by explaining the involvement of numerous generic contributions and continuous redevelopment of the genre. The concept of ‘hybridisation’ for instance, was proven to generate a significantly resilient market value with highly successful hybrid shows such as ‘Survior’ – a hybrid of observational documentary and a gameshow (Hill, 2005).

Hill (2005) also highlights the fact that television audiences make a significant impact on the contemporary reality television success rate – given the fact that is has become extremely popular more recently. He states that the central reason as to why the various subgenres of reality television are mostly an extensive range of occasional viewers rather than a disciplined regular viewing audience (Hill, 2005).

In conclusion, it is perhaps fair to state that the construction of reality television and its contemporary development depend on a number of factors that influence its complex definitive nature (Biressi & Nunn, 2005).

References:

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

Biressi, A. & Nunn, N. (2005). Real Lives, documentary approaches. In
Reality TV: realism and revelation. (pp. 35-58) London: Wallflower.