Thursday, 5 November 2015

Dulcie Barker 1076688 POP GENRES ASSIGNMENT 2


PART 1: FAN FICTION (BUFFY)

Willow sat in her chair nervously as she scanned the classroom looking for her friend. The fight they’d had on the phone last night made her feel as though Buffy’s absence was her fault. She alerted her head to the door as a student entered, it was Zander. He had a laptop bag hung from his one shoulder and a grim look on his face.
   “Have you seen Buffy anywhere?” Willow asked, trying her best not to sound alarming.
He shrugged his laptop bag off his side and onto a nearby desk.
   “No, but Willow,” he paused and checked his surroundings. “I need you to meet me in the library after class. I received a really weird voicemail from Buffy late last night. Something isn’t right.”
As Zander sat himself down tensely, Willow returned to her own thoughts. Last night’s phone conversation had been horrible. Buffy had been dedicating all of her time and attention to her new boyfriend Riley, and that stupid excuse of a protection agency that he had recruited her into. When Willow had finally voiced her opinions on the whole thing, Buffy had blown up in her face. And now she wasn’t even coming to class.
   “Great,” whispered Willow only to herself. “Now I’ve gone and done it.”
After the long and monotonous class had dragged to an end, Willow made her way towards the library as Zander had asked her to. On her way she thought it best to call Buffy, and at least make sure that she was okay. As she held the phone to her ear with an apology on the tip of her tongue, the phone didn’t even ring. The call had gone directly to the message bank, meaning Buffy’s phone wasn’t even turned on, or worse, she had voided the call altogether.
She hadn’t even realised that she’d arrived at the library when she did, for she was still fixated on her cell phone and the possibility that perhaps this time Buffy wasn’t interested in making amends. 
   “WILLOW!” Zander yelled at her, and she suddenly realised where she was. “What took you so long? Buffy is in trouble, hurry up!”
   “Buffy is in trouble?” She recited the words back to him in a confused state, as if the idea might not have even been a possibility.
   “Yes,” he said rolling his eyes. “And you took forever to get here, Giles and I thought maybe something had happened to you as well.”
   “Well I’m fine. It’s Buffy I want to know about,” she seemed suddenly switched on. “Tell me everything.”
   “From what I gather,” Zander started, “After that fight you two had last night Buffy went to the agency, I’m guessing to confide in Riley, only I think she stumbled upon more than she’d bargained for. I didn’t check it until this morning, but I had a voicemail from her, she was whispering, something about how the agency wasn’t what she thought it was. Something

about experiments… on agents. She didn’t have a chance to tell me anything else, the phone cut out.”
Willow stared at Zander and then to Giles and back to Zander as he continued talking.
   “I looked for her everywhere this morning, but when I realised she was missing I knew something bad had happened last night. I came to Giles before class this morning, and he’s been doing some reading.”
  “Some reading on what?” Willow was becoming increasingly more worried by the minute.
   “Well Willow,” Giles cut in, “I’ve done some digging into this so-called protection agency and it’s not uncommon that now and then, their recruits just vanish into thin air. Not all of them, but some. Usually the more talented of the trained force, which struck me as odd.”
From the masses of thickly bound books that surrounded them, Giles then uncovered an old newspaper article and handed it toward Willow. The title of the article read ‘SUNNYVALE HIGH SCHOOL STUDENT IN MAXIMUM SECURITY AFTER RANDOM ATTACKS.’.
   “I don’t understand.” Said Willow.
   “The student in the newspaper, he was a recruit two years earlier in the agency with Riley,” Giles explained, “The boy remains psychotic. He has no recollection of his former self or family. Something happened to him in that place and I’m guessing it was no accident. I believe these missing recruits are being groomed for something bigger. How this one escaped is beyond me.”
Willow stared down at the newspaper clipping, taking in all the information she had just received. Suddenly, the thought of Buffy simply being stubbornly mad at her didn’t seem like such a disaster after all.
   “I can’t believe all this happened just last night,” said Willow. She spoke with a hint of regret in her voice. “I mean, Buffy is usually the one to remedy a problem… If there’s a problem, call Buffy. Now that she is in trouble I can’t help but feel slightly useless and somewhat responsible.”
   “Actually,” Said Zander, “You are going to be the biggest use of all.”
   “This is way beyond petty witchcraft Zander, come on.” Said Willow.
   “No Willow, you’re wrong.” Zander corrected her. “If Buffy really has been somewhat body-snatched as Giles believes, then your so-called petty witchcraft is our best bet at getting our friend back.”
Zander had used his fingers as quotation marks as he’d mimicked the word ‘petty’, which made Willow smile momentarily.
   “OK, for Buffy,” she said, now with a more determined tone. “What’s the plan?”



Zander made a notion with his head at Giles, who peered at them both through the top of his glasses.
   “I’m afraid, if my thoughts prove true, you two will be going up against something more complicated than ever before.” Giles looked at the two of the students with great concern as he spoke. “According to the time of Buffy’s last voicemail to Zander, she could have been attacked over 12 hours ago.”
   “Which means we better get a move on then.” Zander cut in quickly.
   “No Zander,” said Giles, “It means that given the amount of time Buffy has been unaccounted for, she may already have been turned. And it could be your own friend you are fighting this time.”
The look on Willows face dropped.
   “Hold on, Giles… This is a rescue mission is it not?” Willow asked.
   “Well, for now, our main focus should be to get Buffy home… Regardless of the state she be in. I don’t want either of you to be distracted by the thought of Buffy as your friend. She could be, well, she could be a danger to you both. And I am asking neither of you to do this as a sacrifice.” Giles spoke with a worry in his voice.
   “That’s where you come in Wil,” said Zander. “If you can perform a sleeping charm on any version of Buffy that we happen to encounter, then we can bring her back to the library and try and reverse whatever it is that bloody agency is doing up there.”
Willow nodded assuredly. A simple sleeping charm was child’s play for her ability. However, the more she thought about it, the more complications began to rise.
   “How are Zander and I supposed to get into the agency undetected?” Willow questioned. “Buffy said that only registered recruits have full access to the facility.”
Giles looked matter-of-factly at Willow.
   “I’ve located Riley on campus. It appears he is rather a tool, but not the sharpest tool it seems. He isn’t even aware of the fact that his girlfriend is missing.” Giles was speaking fast. “I slipped a note into his locker actually, telling him to come to the library at lunch noon… Signed Buffy.”
Zander looked down at his watch with speed.
   “Its five to noon now Giles, he’s going to be here any minute.” Zander looked panicked.
Giles placed his hands in his pockets in a nonchalant manner, and turned to face Willow, as if to suggest that she had it sorted. Willow seemed unconfident with both Giles and Zander’s eyes on her. Just as she was beginning to doubt herself, the library door swung open.
   “Buffy? Buffy, are you in here?” Riley’s voice echoed throughout the library.



Willow’s brow furrowed momentarily. Nobody had to say anything before she stepped out from behind a case of books and recited an incantation that put Riley’s body to sleep on the floor.
   “Well,” huffed Willow, rather pleased with herself, “let’s do this.”
She started dragging Riley’s body to a more concealed part of the library, while Giles and Zander looked on in awe before accompanying her with the dragging of the hefty jock.




PART 2: COMMENTARY

Whilst keeping the original setting and characters of Buffy, my main interest in writing this fan fiction was to centralise Willows character as the protagonist/hero, and turn Buffy’s character into a temporary villain. With the smaller word requirement, I chose to focus more on the set up/act one phase of the mythic structure, as I thought that positioning my characters was most important. Having focused on the set up, my characters could then easily be identified in terms of their archetypal roles.
Vogler (1998) states that Act I of a common mythic narrative starts in an ordinary world, with the hero being quite ordinary. He goes on to note the next common characteristics the mythic structure takes is – the hero’s call to adventure, the hero’s refusal to the call, the hero’s meeting with the mentor, and finally crossing the threshold. I chose to mimic this narrative for my own story where Willow, who is my chosen protagonist is seemingly ordinary to begin with yet called to adventure by the complication of her missing friend, Buffy. Initially she refuses to believe that she is capable of the adventure, but is soon convinced by mentor, and helper characters Giles and Zander.
Because Vogler suggests that a mythic narrative begin in an ordinary world, I decided on Willow as my protagonist, as readers are already under the impression that Buffy is extraordinary. I thought that by using Willow as my hero, the turning points which Vogler describes in Act I, would be more defined.
Vogler (1998), influenced by Campbell, Jung and Propp devised his own set of seven character archetypes which he suggested fundamental to story-telling. His archetypal characters are labelled – The Hero, the Mentor, the Threshold Guardian, the Herald, the Shapeshifter, the Shadow and the Trickster. In my own short piece of writing I’ve incorporated four of Voglers key character archetypes. Where Willow normally takes the Herald role in Buffy the Vampire Slayer, here she takes the irregular place of the Hero. Zander takes the role of Herald to Willow and Giles remains in his regular role as Mentor. It is Buffy herself who has the biggest shift in character as she fills the role of the Shadow. Vogler notes that the Shadow archetype may be humanised or integrated by the Hero in the process. This was a suitable character for Buffy as although I don’t make it to the final act, it

was my intention for her to be a villain only temporarily and to have Willow guide her back to humanity, much like Vogler’s narrative structure allows.
I found Vogler’s ideas of narrative structure and archetypal characters was easily applied to Buffy the Vampire Slayer. The universality of the roles, made them applicable to any of the characters, and I had fun playing around with the different plot ideas. In writing this piece of fan fiction, the structure of narrative and function of characters which Vogler has devised is clearly a suitable formula for storytelling.

References
Vogler, C. (1998) The writer’s journey: Mythic structure for writers. Studio City, CA: Michael Wiese Productions.

Jae-Hwan Jung 0959444 POP GENRES ASSIGNMENT 2

Part 1 Fanfiction

After story of Princess Mononoke

There was a big trouble. Lady Eboshi and monk Jiko were spy of a king. They attempted to cut head of the Great Forest Sprit because of king’s order. Finally, they got head of the Great Forest Sprit. The Great Forest Sprit consumed everything to find out its head. There were a young boy named Ashitaka from Emishi town to cure his curse and a daughter of wolf goddess Moro named San. They gave the Forest Sprit’s head back but the Irontown was totally destroyed by the Great Forest Sprit. After that, Great Spirit gave people a field of grass. The smog lifted, the lake was restored and the Iron town people did not lose their dream of rebuilding their home town. During the situation, lady Eboshi lost her one hand but her face was not dark. It looked brighter than before. Kodama showed up in peaceful and it had gone. Ashitaka wanted to live with her in the town but she said that “I like you but I cannot forgive the human.”

So, Ashitaka decided to live in the town alone and decided to visitor her later with his deer, Yakur.

Ashitaka returned to the Iron town after San backed to the forest. He directly went to see lady Eboshi. Her lost hand was bandaged and, the lepers cared her.

“Ishitaka, can you help me to rebuild our town again?”

Ishitak answered unquestioningly that “I decided to live here with you people. My special power was gone with my curse but I wants to help you people.”

Eboshi spoke tenderly that “The wolves save my life. I want to repay them for their help. I want you to be connector with Princess Mononoke.”

After finished conversation with Eboshi, he looked around the town. The town only left a trace. The town looked like forest that did not trees. They lost all iron. On the other hand, it means that there was no reason to be attack by the other towns. The town became peaceful town.

The sky be colored dark, the town people built wooden fence around the town and they made a fire inside of the town. There was monk Jiko with the town people. Ishitaka walked and talked to him.

“Monk Jiko. Why are you still stay in this town?”

“Ha Ha Ha. I also fights to save this town. Can’t I stay here? Ha Ha”

Ishitaka looked him quietly and said. “You come here as spy of king. Is it ok if you stay here?”

 “I already break the king’s order. How can I return to him? There is only one way left to me. Just live here. Ha Ha.” Jiko smiled and keep his talking.

“What about you? Why don’t you live with the princess of the wolves?”

Ishitak shook his head. “She said that she cannot forgive humans yet. So, she decides to live in the forest and I promise her to visit her sometimes.”

“That is good. You can be only the connection with her and humans. Do not leave her alone. people cannot live alone.”

“That is only word that you talk like monk.” He move to the outskirts of the town to find a place to sleep.

After a day, there were a person who looks like a civil servant and two people of the civil servant entourage. They all looked like Asano’s retainers. They looked for Eboshi and shouts their demand.

“There are no ways to defend yourselves. If you do not empty this your town, we will kill you.” They disappeared after leave that message.

All the town started to discuss about the situation. Most of their opinion was how to defend their town from them. They never thought to leave the town and focus on the defense way.

“What about we just slug it out toe to toe?” One of the town villagers said.

Toki contradicted him directly. “We already lost our weapon a lot and that way will too much damage to us. I don’t want lose anyone in this town.”

Many people agreed with her and their worry was getting larger and larger.

Suddenly, Ishitaka stood and gave his opinion. “What about ask San to help us? If Asano’s soldiers see that we have alliance with the wolves, they will not touch us easily.”

“She resents us yet. Do you think that she will help us?” Eboshi asked in return.

“That won’t be easy. However, we do not have many choices. We need her help and she will need our help one day. Because, people cannot live alone.” He looks monk Jiko and said.

The town people agreed with his opinion and Eboshi allowed it. Ishitaka hurried to persuade San. He rush to find her with his deer, Yakur. That was not hard to find her. Ishitaka already knew where she lived. The problem was that it is not easy to persuade her. She never believed human because of her human parents threw her away to survive and the Great Forest Spirit incident was the one of the reasons.

“Why should I help humans?” she refused flatly.

Ishitaka asked her earnestly. “We need your help to live here. If you do not help us, we all have to leave here.”

She consented reluctantly. “This will be the last time to help human.” And she vanished in the middle of forest. Ishitaka thought that ‘I am human too. This will be help you to adopt to human in the future.’

After a day, all the problem solved so easily. Asano’s troops also had damaged with last attack. They did not have enough soldiers. They all ran away when they saw pack of the wolves and the Iron town got peace.

There was party at night but Ishitaka did not attend it. He placed the outskirts of the town and laid on the ground. The sky was too beautiful.

Suddenly, San’s voice was heard.

“Why don’t you stay with the humans?”

“Because, you can come here to find me, like this.”

“Humph. I am leaving now. I never going to help you again.” She looks sullen.

“We got danger if you didn’t help us. I really appreciate that.”

San’s face turns to red and she asked him to back to forest with her. However, Ishitaka refusal it and said “These people still need my help. They need me to live with nature.”
She could only turn back with disappointment. However, Ishitaka’s voice hit her ear from behind. “One day, we can live together. We will.” Her face turns to bright and shout back “Yes. One day!”







Part 2 Commentary

According to Vogler (1998), there are eight major character archetypes. Hero, mentor, threshold guardian, herald, shapeshifter, shadow, ally and trickster. Hero is willing to sacrifice his own needs Mentor is all character who teach and help heroes. Threshold Guardian is a menacing face to the hero, but if understood, they can be overcome. Herald brings a new challenge to the hero. Shapeshifter change constantly from the hero’s view. Shadow represents dark side. Ally is someone who travels with the hero through the journey, serving variety of functions. Trickster is embodies the energies of mischief and desire for change. For example, Ashitaka is the hero in my fiction. He helps the Iron town people when their home town is destroyed by the Great Forest Spirit with without any rewards. Also, he move first when Asano’s officer threaten them. At the end, he can leave the town people and live with his love San. However, he decides to stay with them and help them. He also believes that is the good way to adapt San to the Human civilization. Monk Ziko is one of the mentor in this story. He gives some ideas to help both San and Ashitaka. Asano is the shadow that they are opposite side of Ashitaka. San is the ally who through the journey with him. For example, fights together when Asano’s troops attack. She gives hands to Ashitaka when the Great Forest Spirt lose his head.

There are twelve stages of journey. The ordinary world, call to adventure, refusal of the call, meeting with the mentor, crossing the threshold, (tests, allies, enemies), approach, central ordeal, reward, the road back, resurrection, return with elixir. The first ordinary world is very important part. Vogler (2011) mentions that “The Call to Adventure, IMHO, is essential. The audience needs to know there is something at stake, something happening that the hero must react. The initiating incident of the story. For example, Ishitaka has problem with Asano’s demand and has to react to solve it. If he does not react it, the story will not head toward. “Ordeal is absolutely essential. There’s no story without it. Ideally this should be a difficult test that threatens the here’s life or sense of self, and that makes the audience think the hero has died or failed.” (Volger, 2011). I did not use this part well. This part is the most important part in a story. In the text, Ishitaka has curse from the corrupt boar god. He finds that gives power but it can take his life, if he just leave it. Through this part, audience can concentrate more on the character.
My fanfiction does not follow all parts of Vogler’s (1998) mythic narrative structure, and character archetypes. I used some points of Vogler’s (1998) idea and it helps to write fanfiction easily and arrestingly.










References
Friedel, S. (2011, August 15). Vogler's look at mythic structure is universally valuable | A ton of useful information about screenwriting from screenwriter John August. Retrieved from http://johnaugust.com/2011/the-writers-journey-mythic-structure-for-writers

Vogler, C. (2011, February 24). hero’s journey | Chris Vogler's Writer's Journey Blog. Retrieved from https://chrisvogler.wordpress.com/category/heros-journey/


Vogler, C. 1998. The writer’s journey: Mythic structure for writers. Studio City, CA: Michael Wiese Productions.


Monday, 2 November 2015

Reality TV

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


Hill (2005) pointed out that “reality TV” is simply defined as a series of popular factual programming. “Reality TV” is about capturing and filming a television based on real life events. The techniques that are commonly used in “reality TV’ are non-professional actors, hand held cameras, unscripted dialogues, surveillance footage and seeing events unfold as they are happening in front of the camera. Viewers are more interested in watching what people do in their daily activities and unfold on screen.

In the past, “reality TV” focuses on the daily routine and presents it to the public. Now, “reality TV” turned up to have a wider range of different features including game shows, cooking shows, entertainment shows and etc. Hills (2005) also stated that it can be quite difficult to differentiate between a documentary and “reality TV”. As quoted from Hill (2005), "Television thrives off new formats and, television often cannibalizes itself, feeding off successful genres and formats in order to create new hybrid programs". The process of television cannibalizing themselves has also resulted in redefining “reality TV” as an entertainment. A typical example of the hybrid genre programmes is known as “docu-soap” which is created by the combination of observational documentary genre and soap opera genre (Hill, 2005).


Using “Cathy Come Home” as an example, some “reality TV” does not consist of real-time events but can be categorized under the docu-soaps’s umbrella. This film was very successful in filming the reality and it did not use any effects or editing techniques. We can see how the popular factual entertainment as mentioned by Hill (2005) applies in the contemporary “reality TV” such as one of the game shows “Running Man” from South Korea. The genre of “reality TV” has changed now as the TV producers can edit the whole show they filmed and make it suitable according to the public’s preference. I agree that “reality TV” can be argued to be having more than one definition to it. 


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

Grace Dowden 1387439 POP GENRES ASSIGNMENT 2

Part 1: Fanfiction

A Belgian journalist was admiring the blissfulness view from his hilltop country house with his white terrier dog, Snowy. While soaking in the glorious views, Tintin writes his next piece regarding two men whose goal it was to thieve such a valuable piece of jewelry from a nearby home. Once he had enough of writing for the day, Tintin decided to have a well-deserved rest on his couch, all snuggled up to Snowy.

Tintin was fast asleep dreaming about such a tale. His written piece had become his very own dream. However, if only he could wake up to notice what was going on around him. Instead of these men stealing such delicate jewelry, they were thieving his beloved white terrier dog, Snowy. How could this happen you say, as Tintin continued his magnificent dream he was unaware that this was occurring around him. A few hours later, Tintin awakes from his restful sleep, to be absolutely oblivious as to what happened whilst he was sleeping. He jumps up from the couch, puts the kettle on, whilst waiting for it to boil he wonders where Snowy is. In Tintin’s house, there are limited places for snowy to hide. His house consists of a cramped living room, which flows onto the kitchen and then his bedroom follows with a cozy balcony overlooking the town. Tintin begins to look for his beloved pet, thinking that he is hiding under his bed, or under the sheets since it was a sunny but crisp winters day. He soon discovers that Snowy is nowhere to be found. He seeks high and low, but gives up and sits down to ponder of where his beloved pet may be. He reminisces about the times Snowy has run away, but he does not recall any time that he has done so. Tintin starts to panic, he rushes down to the local village and asks around to see whether anyone has sited Snowy but he returns home a few hours later without his beloved dog. Tintin has a distressed sleep due to not knowing where his dog is, if he is warm, has shelter and food. He is clueless and has no idea where or why Snowy would just leave. All without knowing that it actually has a link to his written story. As Tintin awakes to the sound of banging and crashing next door, he opens his front door and realises that there is someone moving in. He offers the nice young lady help as he yawns, she declines and says “You better get some more rest before you think about helping me.” Tintin chuckles, and says, “I’ve been up all night because my white terrier dog, Snowy has gone missing.” She sighs and says, “Oh I am dearly sorry to hear that, I hope you find him soon.” “Thanks.” Tintin says as he closes the door and stumbles back into his cozy home.

Three days pass, within those days Tintin made flyers and stuck them up in his town, however he has not heard or seen anything. He his becoming miserable by the second and worries for Snowy’s wellbeing. However, he befriended his next-door neighbor whose name is Aja.  He helps her unpack her belongings, as doing so his eyes are caught by a shiny piece of jewelry which is sitting on Aja’s mantelpiece, he subtly seeks the what seemed to be jewelry but now realises it’s a dog collar. SNOWY’S DOG COLLAR. He sneakily grabs the collar, slides it into his trouser pocket and says, “Sorry Aja, I have to leave, I have a Snowy emergency.” With that said, Tintin belts out of her house like a speed of light, enters his home and quickly locks his door behind him. He carefully gets the collar out of his pocket and examines it, there are a million thoughts running through his mind, “Why does Aja have his dogs collar?”, “Is she the one behind his disappearance?”, no she cant be, what if she is? Tintin is confused, next minute Aja knocks on his door and says “Tintin are you okay, you hurriedly left mine, do you mind if I come in?” Tintin does not reply, he sighs and gives her a chance to explain. He opens the door, Aja sits down and he shows her the dog collar. He asks, “This is Snowy’s dog collar, how come it is in your possession?” She startles and says, “Argh, well… I brought it off these men who own a jewelry store in the next town.” Tintin has a sigh of relief and says would you be willing to take me to this shop so I can confront them about my dog?”. Aja agrees and takes Tintin to the shop.

Tintin stumbles into this ‘jeweler’ and demands to see his dog Snowy. These two men are just like the characters he imagined and wrote about in his story. They were on the hunt for the jewelry around Snowy’s neck!!! He says, “Give my dog back or else I will call the police.” They snigger and say “We don’t have your dog, we sold him to that lady your with.” Tintin is surprised, he turns around to Aja and says, “Where is my dog”, she replies, “I really don’t know Tintin, I don’t have him, truly.” “Yap yap yap” “That’s Snowy” Tintin says. He jumps over the counter of the shop, the two men chase after him at speed but Tintin reaches the room that Snowy is in but it has a lock on it. Tintin begs to get his dog out. Aja says, “I’ll give the collar back for free if you just let the dog out.” The two culprits decide and speak quietly amongst themselves and decide that they agree on it. Tintin, shake their hands while Aja rushes back to Tintin’s home to retrieve the collar. Once she arrives back the men release Snowy back into Tintin’s arms, they are overly excited to see each other and they hurry home back to Snowy’s natural habitat. After Tintin gives Snowy endless amounts of cuddles and loving, he goes to his notepad and screws up the story about the diamond thieves because he wouldn’t want that to become a reality next time. The next day Tintin buys Snowy and blue collar without the jewels on it. The moral of this story whatever is shiny; will attract those that admire shiny things.

Part 2: Commentary

In reference to Vogler’s (1998) text we can say the fan fiction creates a number of character archetypes within its course. For example the hero of this piece is Tintin. He was faced with the loss of his beloved dog Snowy whom he adores. In the beginning he just thinks that he has wandered off but later on he discovers that two men have actually taken him for his fancy bejeweled collar. Certain heroes, like Tintin encounter multiple obstacles on the road to adventure (Vogler, 1988). For Tintin to get Snowy back he was faced with giving the thieves the power to attain the expensive collar so he could get his dog back. For instance Tintin portrays the quality of sacrifice because at the end Tintin has to give up Snowy’s collar to the thieves. He did this so he could have his best friend snowy back. Another example in this piece of work is that Tintin faces his greatest fear. The fear being him experiencing the loss of his beloved dog Snowy. In addition to this Tintin had to face another fear of confronting the rivals who stole Snowy, so he had to come face to face with what he feared the most. Of the many fears faced by heroes, the greatest dramatic power seems to come form the fear of standing up to a villain or authority figure (Vogler, 1998). The hero of Tintin was able to take possession of whatever he came seeking. He is deemed as a treasure hunter because they are able to take the gold that he went in looking for (Vogler, 1998). Tintin risked himself and Aja because they were seeking for snowy from the thieves who stole him. These thieves and Tintin made an agreement to exchange the valuable possession, which was Snowy’s bejeweled collar. We experienced the factory of resurrection (Vogler, 1998) when Tintin lost Snowy because he faced the feeling of loss. At the beginning of the story Tintin enjoyed his lifestyle with Snowy, he would write stories on a day-to-day basis. However one day the story that he was writing somehow overlapped into his own life. The thieves were stealing jewels in his story however they actually came for his own dog Snowy that indicates the Supreme Ordeal, which is also known as the climax. Heroes have to undergo a final purging and purification before reentering the Ordinary World. Once more they must change. The trick for writers is to show the change in their characters, by behaviour or appearance rather than by just talking about. This is where we can say that Tintin did experience the notion of resurrection due to the loss and triumphed he lost and gained through losing Snowy and getting him back. We can link this to the notion of taking possession (Vogler, 1998) because when Tintin was searching for Snowy him and Aja ended up going to the place where she said she brought the diamond collar from. Tintin was on a mission to collect his beloved dog Snowy. Vogler (1998) states that this step of taking possession of whatever they came seeking whether it is gold, a weapon or a person. But this notion focuses on two or more people making a transaction whereby the hero has risked their life and now gets something in exchange so in this case it was his dog Snowy.
It is clear that my Fanfiction was able to follow both Vogler’s (1998) mythic narrative structure, and character archetypes.

References:


Vogler, C. 1998. The writer’s journey: Mythic structure for writers. Studio City, CA: Michael Wiese Productions.

Sunday, 1 November 2015

Reality TV as defined by Hill

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

His definitions, or, should we choose to stick to factual reality while discussing “reality television,” her definitions – A. stands for Anette - from 2005 are summarized in the conclusion of her chapter dealing with the “Reality Genre” : “a disparate group of programmes that [are united by] the capacity to let viewers see for themselves. This unique function of factual television has become a key attraction for audiences of reality TV.”(Hill, 2005, p. 55). She names several aspects of the type of programming that made up the different subgenres of Reality TV by 2005, such as the “seeing it happen” style coverage, “ordinary people” performing, etc., and as a result, the creation of new hybrid genres from “distinctive and historically based” TV genres “such as lifestyle or documentary”, with an expectation from the audience of the program being “true to life”.
In her 2014 book, “reality tv: KEY IDEAS IN MEDIA AND CULTURAL STUDIES” Hill suggests the genre being “a phenomenon,” (p.13). She states: “we can say reality TV is a phenomenon in the sense that it is part of a social and media matrix” but also: “at this moment in time reality television is also a fading phenomenon. The elements that have made it part of a cultural zeitgeist are now a little tired and repetitive.” (p.16)
Reality TV seems to cater for voyeurism shared by many of us, the morbid curiosity that seems to be more acceptable today than even a few years ago. Privacy is relinquished more easily by people if they hope to gain popularity by doing so. (Schuffeldt-Esch, 2012, pp. 48-53)
As we have often heard the maxim “if it is too good to be true, then it isn’t” this seems to be the case for reality TV too: even viewers without much formal education hold suspicions about the “true to life”-ness of programs such as BBC’s popular Dine with me!. According to personal communication from an “insider” who shall remain unnamed, the vast mass of footage taken on set is heavily edited to only a few minutes of broadcast to create dramatic effect according to prepared scripts. Already at the stage of casting (that much for “ordinary people”), certain existing characteristics of the participants are handpicked to be emphasized by systematic, targeted editing. This is done for example focusing on behaviours embellishing a characteristic (focus on “Ouch, I burned the fish again!” type utterances from an otherwise not particularly disorganised participant), and the purposefully created confrontation with participants who are expected by the creators to produce the most intense reaction to each other’s personality.
 This is not surprising, considering that in order to entertain the wider public, whose attention span is now reported to be below that of the proverbial goldfish: “The average human attention span in 2000 was 12 seconds, but by 2013 it was only 8 seconds (1 second shorter than a goldfish!).”(Microsoft, 2015), programs need to catch the attention of the viewer with dramatic action very frequently if they want to attract high ratings.





Hill, A. (2014). REALITY TV Abingdon, Oxon: Routledge.


How does Hill define reality TV? Reality TV - Rowan Moss

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

Reality TV is a category of television which covers a wide variety of shows, so many that it can be hard to pin down what is reality television and what is not. Hill takes care to define what reality TV is from various perspectives in his 2005 article.

There are a few perspectives to look at when defining reality television. One such perspective is that of the viewers. 'Viewers equate reality TV with 'Cameras following people around'' (Hill, 2005). According to Hill's focus group studies, viewers saw reality TV shows as shows that filmed everyday people and put them on TV. But when do you draw the line between real and not real? Hill (2005) says that many factual formats use techniques such as characterisation and contain a semblance of a narrative structure. This is problematic of course, as real life does not have a story line or a main character. However, this 'fakeness' isn't all it seems to be. 'Its easy watching isn't it... You can miss it for a few weeks and it doesn't matter." (Hill, 2005) This shows us that while a reality television program can be structured and warped, many still retain the spontaneity and accessibility of real life. Like meeting a new person, watching reality TV doesn't need all the back story to make sense. Its grounded and relatable, arguably the most relatable genre of all, which is its appeal. A good example to illustrate this point is the show Border Security. In Border Security Australian customs officers are followed about by a camera crew in their job. The security officers are presented like characters; they are introduced and talk to the viewers and their actions are the focus of the show. The show even has a loose narrative structure episode to episode, where they will pick a few dramatic encounters and stretch them out across the duration of the show by switching from incident to incident. But all of these things, the characterisation, the loose narrative structure, they are only important within the episode. It is entirely possible to move from episode to episode without feeling as if some information was lost or required. It seems that reality TV can have story and plot, admittedly in the loosest sense, and still warrant the title of reality television.

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


Eleanor Nguyen - Reality TV/ Cathy Come Home

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

In general, reality TV can be described as a range of programmes based on realistic events.  In the early days, reality television referred to on-screen footage of law and order or emergency services, but nowadays its definition has expanded into more various categories from people to pets, and from life to death (Hill, 2005). There are so many examples on-air evidencing this idea: we have shows like The Real Housewives focusing on daily drama, right beside Naked And Afraid focusing on survival skills - there are just so many diversity of reality TV. Hill (2005) claimed that reality TV has the nature of cannibalizes itself: improving and merging successful shows and concepts into hybrid new-and-improved shows and concepts. An example of such merging process mentioned by Hill was the merge of the documentary and soap genre to create an new genre: "docu-soaps".

Taking a contemporary reality TV show such as The Voice as an example, we can see how Hill's (2005) definition of reality TV as "factual entertainment" applies. The loophole here is that, as stated by Hill, reality TV by definition does not have to be completely factual. The producers only take "raw" aspects of the filmed events and process them into a more "cooked" reality format. This is different than older definition of reality TV because it is much more diverse and the "reality" aspect is only loosely applied. Cathy Come Home can be seen as another example of how reality TV does not have to consist strictly of real-time events. It is a television play, which means it has a script, and it was only filmed in a realistic manner. For audience, the term "reality TV" also does not have a solid definition; most of them described reality TV as "cameras following people around" (Hill, 2005).

Reference

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