Nistha Patel - Buffy the Vampire Slayer Cult TV

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

Fans will almost every time play a pivotal role in the construction of television programmes in any (popular) genre. The role of fans in the constructions of cult TV is identified by Hills (2004) as a 'grassroots' phenomenon, assuming that it is created by fans rather than by media producers" (p 510). Most of the time, the creation of different forms of mainstream media and genres are mainly for the consumer’s demand. On the contrary, there are shows that are not necessarily created for the ‘mainstream’ viewers, and only have a small following ‘dedicated’ fandom. In terms of ‘cult TV fans’, Hills (2004) mentions “fans of cult TV have played a part in generically re-organising TV programmes into the category of ‘cult’” (p 517). It can be said that cult TV fans have had a hand in compiling particular televisions programmes under the TV genre known as “cult TV”. According to Gripsrud (2002, as cited in Hills, 2005), “proper fandom exists when an enthusiasm for some cultural object or other takes on a totalising, defining role in people’s lifestyles and identities” (p 517). The genre is not just an interest, it’s a lifestyle. Hills (2004) states fans also produce commentaries, fan fiction, episode guides and production histories, which all work to sustain the distinctiveness of fandom as a community that read the intertextual network of cult TV programmes in a characteristic way.

Hills mentions four steps about, of how fans turn programmes into their cult favourites. Hills (2004) reports, the first step in this is that ‘cult’ fans compile television shows into an “intertextual network”. A discussion between fans is most likely about one common favourite programme; but with an intertextual network of other cult TV programmes, fans of one particular programme are able to have more broad discussions since they can refer to many other programmes in the same category. The second step is referred to is the usage of the word “cult” used to describe a programme, which is categorised in a fandom’s intertextual network. The third step is the organisation of “appreciation societies”. Fandom’s of particular shows (in this case cult) form social groups in appreciation of their favourite programmes. Hills (2004) notes, these appreciation societies don’t necessarily have to be formed right after the debut of a TV programme; he further supports this statement by listing shows with “appreciation societies” that have been formed after years of a show’s run. The fourth step is cult TV fans “create a market for memorabilia, merchandise, and props... even long after [a show’s] cancellation and mass-merchandising of these shows” (Hills, 2004, p 159).  

How does Buffy deconstruct traditional literary notions of good and evil?

Buffy deconstructs the traditional literary notions of good and evil by the complexity of its protagonists. Each of its protagonists has a multifaceted personality, meaning one person is neither completely good nor evil. Braun (2000) refers to Melanie Klein's theory which notes this mentality that we have is developed from infancy and we are conditioned to expect and deal with both "good" and "evil" from our close and loved ones throughout our lives. Braun (2000) states that one of the main themes in the Buffy series is "moral inconsistency"; he further mentions that in Buffy's world, "good and evil are every-shifting qualities" (p 67). Buffy processes the qualities that a hero would possess; courageous, strong-willed and a fighter etc. Being the character automatically puts her in the 'good' category... or so we expect. Buffy does sort of shift a 'little' bit as she is a slayer who follows the rules. But the one thing that puts her into the 'bad' category is her guilty pleasure of being romantically linked to the enemy; vampire(s), Angel (and occasionally, Spike). Buffy herself has her own views on what's truly 'evil' or 'good', and Angel is a big factor in that. He is a major influence on her wavering morally, affecting her priorities as a slayer.

Reference

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. 

Braun, B. (2000). The x-files and buffy the vampire slayer: The ambiguity of evil in supernatural representations. Retrieved from http://www.findarticles.com/p/articles/mi_m0412/is_2_28/ai_64688900