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

Cult television can be defined to a genre of media that pertains to a specific type or area of a culture (Booker, 2011).

The nature of cult television has undergone a dramatic transition over the years. In the initial stages of cult television development it was largely synonymous with the single forms of genre types (Abbott, 2010). According to Abbott (2010), arguably, some may debate over the fact that cult television has always been a genre that varies greatly both culturally and generically.

It is perhaps a fair assumption to state that the audience and the ever-changing media, broadcast and communication platforms play a central role in the construction and progression of cult television.

Hills (2004) for instance, suggests that the creation of fandom discussions external debates without the direct influence of the actual directors and producers allows an audience to engage in personal interpretative conversations with other fans. He also stresses on the fact that this can in turn result in the audience obtaining an in-depth understanding of other narratives, reviews and individual character analysis (Hills, 2004). According to Hills (2004), These types of audience interactions can be extremely reliable generating a positive speculation to promote cult programs through various fandom practices. He stands strongly on the notion that new age media such as the internet, is responsible for forming present contemporary cults - Fans are freely enabled to create their own definitions and perspectives to their favourite cult television program (Hills, 2004).

Let us take the tv series ‘Buffy the vampire slayer’ as an example. Despite being described by David Lavery in 2004 as a “rare example of a bad movie that became a superior television series”, it is perhaps significant to note that its popularity roots mainly from the support received by the fans of the show (Buffy as cult television, 2009). As Hills (2004) has mentioned, the popularity of a cult television series allows deriving a huge market for selling merchandise and props, even long after it has ended or been cancelled. Buffy perhaps demonstrates itself as a solid example of this.

In conclusion, it is probably fair to say that the outbreak of new media methods and more convenient, collaborative ways for fan interaction has made cult television an extremely competitive genre. 

References:

Abbott, S. (2010). The Cult TV Book. New York, United States: Edward Brothers.

Booker, M. K. (2011). Historical Definition of American Cinema. Plymouth, United Kingdom: Scarecrow Press.

Buffy as Cult Television (2009). Retrieved 9 September, 2009 from: http://culttvbuffy.wordpress.com/2009/06/0 3/buffy-the-vampire-slayer/

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.