Jae-Hwan Jung [CultTV/Buffy]

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), there are three major definitions of cult TV. Firstly, cult TV can be defined through textual analysis and depends on text. Secondly, cult TV can be defined through an analysis of secondary texts or inter-texts, and depends on these inter-texts. Lastly, cult TV can be defined through an analysis of fan practices, and depends on fan activities.

Hill (2004) says that fans of cult televisions are loyal and dedicated. Cult status for shows like Buffy the Vampire Slayer is generated, ultimately, through an audience’s passion for a television show; a ‘grassroots’ phenomenon, if you will. This phenomenon then, naturally, leads to fandom. Gripsrud (2002) notes that “Proper fandom exists when an enthusiasm for some cultural object other takes on a totalizing, defining role in people’s lifestyles and identities.”

Hills (2004) claims that cult television can be neither made nor promoted as such by the media industry, but instead is entirely reliant on audience devotion. However, he also argues that it is overly simplistic to take the side of either the fans or media producers when it comes to the creation of cult viewing. For instance, this comment makes me consider whether cult status is all based on fan popularity, or whether it is up to scriptwriters and producers to continue making such compelling viewing for the committed fans – and thus, it is the talent of the behind-the-scenes team that also plays a large role in keeping this status afloat. Further fan dedication is revealed through the organisation of 'Appreciation Societies' (Hills, 2004). Through these Appreciation Societies, a sense of fan communal distinctiveness is created by fans meeting annually to discuss their passion for cult television shows such as Buffy the Vampire Slayer. 

Cult television fans should have the ability to, through analysis, critically appreciate one’s favoured text (Hills, 2004). Luckily, fandom in the age of new media allows for fans to connect through a broad network of tools. Hills (2004) comments that most fan activities are carried out both online and in real life, as this allows fans to gather together in virtual spaces as well as in hotel function rooms. Online, they are also able to post interpretations, episode guides and fanfiction (Hills, 2004). He adds that this detailed online commentary that occurs between fans allows them to reveal the in-depth knowledge that they possess. Podcasts and blogs, too, allow for further discussion in the new media age.

References

Hills, M. (2004). Defining Cult TV; Texts, Inter-texts and Fan Audiences, the Television 

          Studies Reader. London and New York: Routledge.