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Question 11

How real is reality television?

Despite being regularly promoted as an unscripted or spontaneous genre of television, many still question the validity of reality television. However, before we analyse whether ‘reality’ television is an accurate depiction of real life, we first need to define what reality television is.

Reality television as a genre is distinguished for its application of “real people” in sensational situations. However, Hill (2005) elaborates by stating that reality television is “a range of popular factual programming” (p. 41) with various styles and techniques. These include non-professional actors, unscripted actors, surveillance footage, hand-held cameras and events unfolding in front of the cameras (Hill, 2005). These styles and techniques are what help reality television differentiate from other television genres. However, Kilborn (1994) argues that the term ‘reality television’ has become a “catch-all phrase” (p. 423). Kilborn (1994) elaborates that this difficulty establishing a distinct definition of reality television is due to its misuse to describe fictional genres rooted in real-life situations. Alternatively, he defines reality television as “an attempt to simulate real-life events through various forms of dramatised reconstruction” (p. 47).

Furthermore, reality television has an extensive history with documentation styles of media. Thus, it shares numerous characteristics with the genre. Smith (2020) states that “the techniques, technologies, constraints and worldviews of early cinema and television documentary makers have constructed the ways that we perceive ‘reality’ on the screen”. Characteristics of documentation and cinematic styles such as direct cinema, cinéma vérté and free cinema, can be seen implemented in the reality television genre (Smith, 2020). Consequently, by implementing many features from the genres, reality television often blurs the lines between factual and fictional media.

This blurring of fact and fiction may be the result of audience expectations. Ouellette and Murray (2004, as cited in Smith, 2020) state that audiences do not crave a faithful depiction of reality and a far more interested in “the space that exists between reality and fiction” (Smith, 2020). As a result, Kilborn (1994) states that reality television producers often feel inclined to distort or exaggerate the content they are presenting to improve overall interest in their shows. This perspective has had a significant influence on the authenticity and consequently, the popularity of reality television.

In conclusion, while reality television may orientate around genuine people or situations, the historical and modern influences on the genre make it impossible to define reality television as entirely accurate.

References.

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

Kilborn, R. (1994). ‘How real can you get?’: Recent developments in ‘reality’ television. European Journal of Communication, 9, 421-439. https://doi.org/10.1177/0267323194009004003

Smith, P. (2020). Reality television [PowerPoint Slides]. Blackboard. https://blackboard.aut.ac.nz/

Week 9 Question

1. According to Mountfort et al. (2018), what are the three main genres of cosphotography, and how did they historically develop?

Cosphotography is the art of capturing cosplay through the medium of photography. Throughout cosphotography’s lifespan, it has developed new methods and styles that have expanded our perspective of the global phenomenon. The art of cosphotography originates back to the early 1910s, in which a rising interest of sci-fiction costuming was gaining mainstream attention with photos appearing in newspaper articles. However, it did not begin to resemble modern cosphotography until the late 1930s, with the inception of an influential sci-fiction convention, Worldcon (Mountfort, 2020). During the 1940s, sci-fiction conventions began to gain widespread popularity. Consequently, cosphotography also continued to develop, later embracing new genres and styles. Mountfort et al. (2018) state that there are three main types of cosphotography, the runway style, hallway shots and the studio-style.

Firstly, the runway style. The runway style of cosphotography is achieved by capturing active cosplayers on a stage or runway. The mainstream fashion culture heavily influenced the runway style of cosphotography, essentially transforming cosplay into a fashion show event. This style of cosphotography provides numerous cosplayers with a platform to showcase their costumes and designs. Additionally, it allows the audience to appreciate the craft and quality of the participant’s costumes (Mountfort, 2020). First accounted by Mike Resnick in the 1940s, the Chicago Conference annual masquerade served as a precursor to the runway style of cosphotography (Mountfort et al., 2018). This approach towards cosphotography produced a formal perspective on the art form. However, during this period, informal styles of cosphotography had begun to emerge, the hallway shots.

Secondly, hallway shots. The hallway style of cosphotography is considered fairly casual in comparison to the other techniques. The hallway style tends to be more relaxed and spontaneous. Instead of being photographed in elaborate settings and areas, cosplayers are often photographed wandering the convention space (Mountfort, 2020). Controversially, these photos are often taken without the consent of the cosplayer, emerging questions regarding the morality of this style. The hallway shots were the result of emerging portable cameras in the late 1930s (Mountfort et al., 2018). This accessibility of which allowed participants to capture their favourite cosplay moments through their own lens. By the 1940s, portable cameras were widespread, consequently increasing the popularity of the hallway style of cosphotography (Mountfort et al. 2018).

Finally, the studio-style. The studio-style of cosphotography functions as an opportunity for amateur photographers and fans to capture photos of cosplayers in a designated space during a convention (Mountfort, 2020). This style of cosphotography came into notability during the 1970s, thanks to stars of the genre such as Angelique Trouvere. Furthermore, one of the defining features of the studio-style was the “presentation of the costumed self in a consciously staged manner in ad hoc settings” (Mountfort et al. 2018, p. 51). Therefore, the studio-style can be understood as a combination of the runway style and hallway shots. However, in these early stages, this style did not maintain the same quality as a studio style photoshoot. Sets tended to be simple backdrops with a few additional props (Mountfort et al. 2018). However, as this style developed, it continued to adopt many features from professional photographic shoots. Now, the studio-style of cosphotography tends to operate independently from conventions, within professional photo studios.

References.

Mountfort, P., Peirson-Smith, A., & Geczy, A. (2018). Planet cosplay:
Costume play, identity and global fandom. Intellect Books.

Mountfort, P. (2020). Popgenres week 9 cosphotography and fan capital [PowerPoint Slides]. Blackboard. https://blackboard.aut.ac.nz/

Week 8 Question

Referring to Mountfort et al. (2018), in what ways is cosplay analogous to citation.

The modern phenomenon of cosplay has become extensively cherished and practised by an extensive community around the world. First coming into fruition in the late 1960s, cosplay involves individuals dressing up and acting as beloved characters from popular media texts (Mountfort, 2020). Throughout the early years, cosplay mostly centred around popular science fiction texts, such as Star Trek, Star Wars and Superman. However, as cosplay achieved an international reputation in the 1990s, due to globalisation and the advancement of technology (Napier, 2007, as cited in Rahman et al., 2012), cosplay began to both expand and diversify.

In the late 1970s and early 1980s, cosplay had started to gain mass appeal in Japan. Cosplay appeared in Japanese publications such as issues of My Anime in 1983, which coined the term cosplay. With the rise of cosplay in Japan, cosplay would become indebted with Japanese popular culture sources such as manga, anime, gaming, otaku and idol culture. Cosplay quickly developed into an international sensation with cosplayers frequently incorporating or blending eastern and western influences into their costumes. Thus, Mountfort (2020) argues that cosplay “sat at the intersection of American and Japanese popular culture flows”. Mountfort et al. (2018) state that cosplay is a form of citation, in which individuals are referencing a parent text through the act of dressing up, performing and posing as a chosen character. Mountfort et al. (2018) elaborate by stating “it is the cosplayer’s costumed body that becomes the text or site that references another text— that is, the specific source media that the cosplayer chooses to perform” (p. 23). Furthermore, Hale (n.d., as cited in Mountfort, 2020) states that there exists a distinction between different types of cosplay, in which cosplay can either be ‘direct imitation’ or ‘textual transformation’. Direct imitation focuses on maintaining a faithful adaptation, while textual transformation allows cosplayers to adapt and transform the parent text. Textual transformation enables cosplayers to recontextualise the parent text by applying “parody, pastiche, satire, burlesque, and caricature” into their designs (Mountfort et al., 2018, p. 24). Yet, cosplay differs from conventional forms of costume performance in that cosplayers are not attempting to enact an entire script or story, as it would be impossible. Consequently, cosplayers are not bound to the same boundaries of traditional costume performances. Therefore, cosplayers have more freedom in how they adapt or reference the parent text into their designs. Cosplaying often references a specific character from a pre-established text. Thus, when cosplayers create their costume, they base their designs on extensive knowledge and research. Furthermore, cosplay enables participants to reinterpret and recontextualise the parent text through their costume designs (Mountfort, 2018).

In summary, cosplay is analogous to citation in that participants are adapting or referencing a parent text in their costumes. Furthermore, the medium of cosplay allows participants to push the boundaries of fan practices.

References.

Mountfort, P., Peirson-Smith, A., & Geczy, A. (2018). Planet cosplay:
Costume play, identity and global fandom. Intellect Books.

Mountfort, P. (2020). Popgenres week 8 cosplay as citation [PowerPoint Slides]. Blackboard. https://blackboard.aut.ac.nz/

Rahman, O., Wing-Sun, L., & Cheung, B. H.-m. (2012). “Cosplay”: Imaginative self and performing identity. Fashion Theory, 16(3), 317-341. https://doi.org/10.2752/175174112X13340749707204

Week 7 Question

King describes horror as being defined through three basic elements. Explain, using references, what these three elements are. Think of a horror story you’ve read/watched/heard that makes use of all three of these elements and show how King’s definition is at play in that narrative.

Renowned American author Stephen King describes the horror genre as being defined through three central elements. These three elements are as follows, “terror on top, horror below it, and lowest of all, the gag reflex of revulsion” (King, 1981, p.37). A perfect example of a film that utilises all three elements of horror is John Carpenter’s “The Thing” (1982).

Firstly, terror. King (1981) states that genuine terror is the “unpleasant speculation called to mind” (p.34). Terror focuses less on the visual and more on the psychological aspects of horror by allowing the audience’s imagination to speculate the true dread. King (1981) elaborates that terror is “what, the mind wonders, might have been” (p.34). In “The Thing” (Carpenter, 1982), the alien’s true form is never actually revealed to the audience. Instead, the alien manifests and transforms itself into numerous distinct forms. This adds to the psychological terror of the film, as we are never able to gain a concrete understanding of the alien. Additionally, its ability to perfectly shapeshift into camp members instils the audience with a prolonged sense of paranoia throughout the film.

King (1981) states that horror is “that emotion of fear that underlies terror…because it is not entirely of mind. Horror also invites a physical reaction by showing us something which is physically wrong” (p.35). In “The Thing” (Carpenter, 1982), the physically wrong is presented though the alien and its numerous forms. The alien is often presented as exceptionally abnormal and frightful with tentacles and slime. Even when it assimilates to an animal or human host, it often deforms the host’s appearance when assaulting the camp inhabitants. For example, the character Bennings is taken over by the alien, eventually forming mutilated and visceral features.

Revulsion can be defined as the grotesque, unnatural and “gross-out” (King, 1981, p. 37) imagery commonly associated with the horror genre. King (1981) defines revulsion through the example of “Foul Play”, in which the baseball diamond is comprised of human viscera. In “The Thing” (Carpenter, 1982), the alien’s many forms are exceedingly visceral and slimy, closely resembling human flesh and intestines. Combined with acclaimed practical effects, the alien becomes truly disgusting and revolting in appearance.

By utilising all three of King’s (1981) elements of horror, “The Thing” (Carpenter, 1982) succeeds in horrifying audiences, cementing itself into horror history.

References.

Carpenter, J. (1982). The Thing.

King, S. (1981). Danse Macabre.

Week 6 Question

What is the philosophy of cosmicism and how is it used to convey a sense of dread in both The Shadow Over Innsmouth and The Colour out of Space?

Cosmic horror is a subgenre of horror fiction made famous by author H. P. Lovecraft. One of the defining features of the philosophy of cosmic horror is its use of anti-anthropocentrism. Lovecraft regularly overshadows the significance of humanity in many of his stories by hinting at a universe that is far greater and more important than that of our own. Lovecraft states that “my tales are based on the fundamental premise that common human laws and interests and emotions have no validity or significance in the vast cosmos-at-large” (as cited in Joshi, 2007, p. 103).

In ‘The Shadow over Innsmouth’ (Lovecraft, 1936), Lovecraft imagines this greater cosmos through the ‘Deep Ones’. A race of human-fish hybrids that encompass the small, rundown fishing town of Innsmouth. The ‘Deep Ones’ possess immortality and often hide in the massive underwater city of ‘Y’ha-nthlei’ when their mutations become too apparent to outsiders. The ‘Deep Ones’ eventually plan on expanding to the surface world in tribute of the Great Cthulhu residing in R’lyeh, located in the depths of the South Pacific (Wikipedia, n.d.).

While in ‘The Color out of Space’ (Lovecraft, 1927), the meteorite that lands in Arkham, demonstrates the otherworldliness of Lovecraft’s work. Its appearance and characteristics are unlike that of anything seen before. The meteorite radiates strange colours and causes the environment nearby to act and mutate in uncharacteristic ways. After feeding on the mind and body of living things around it, an entity hiding from within the well returns home in a bright column of colour ascending to the outer reaches of space. Both of these tales hint, either directly or indirectly, at universes far superior to that of mankind. Therefore, implementing one aspect of the philosophy of cosmic horror.

Furthermore, characters that attempt to comprehend the newfound expansiveness of the cosmos often succumb to insanity, as their newfound knowledge shatters their understanding of the universe. Stableford (2007) elaborates that part of the terror from cosmic horror comes from the “knowledge that is too much to bear; the ultimate knowledge of that kind is, indeed, related to unplumbed space rather than the shallows of human evil, and to assaults of chaos” (p. 66).

In ‘The Shadow over Innsmouth’ (Lovecraft, 1936), as the main protagonist begins to uncover more about the inhabitants and the happenings of Innsmouth, his mental fortitude begins to breakdown. Stating “It was the end, for whatever remains to me of life on the surface of this earth, of every vestige of mental peace and confidence in the integrity of Nature and of the human mind” (Lovecraft, 1936), eventually succumbing to the ‘Deep Ones’.

In ‘The Color out of Space’ (Lovecraft, 1927) the meteorite that lands in Arkham has drastic psychological effects on nearby residents. An unfortunate victim of which, Mrs Gardner, has strange visions of things shifting unnaturally, along with mysterious “things” in the air that she is unable to describe. Eventually dying to the strange entity from within the meteorite.

This inability for humanity to comprehend the greater cosmos intern heightens the anti-anthropocentrism within the philosophy of cosmic horror.

References.

Joshi, S. T. (2007). The cthullu mythos. Icons of horror and the supernatural: An encyclopedia of our worst nightmares, 97-128.

Lovecraft, H. P. (1927). The color out of space.

Lovecraft, H. P. (1936). The shadow over innsmouth.

Stableford, B. (2007). The cosmic horror. Icons of Horror and the Supernatural: An encyclopedia of our worst nightmares, 66-96.

Wikipedia. (n.d.). Cthulhu. https://en.wikipedia.org/wiki/Cthulhu

Week 5 Question

What genre or genres is Princess Mononoke? How does it relate to its ‘prequel,’ Nausicaä?

Hayao Miyazaki is an esteemed Japanese animation director, responsible for creating many of the most influential animated films of all time. Miyazaki’s big breakthrough into the animation industry came with the release of Nausicaä of the Valley of the Wind in 1984. This animated film established many of Miyazaki’s trademark themes that he has continuously explored throughout his filmography (Mountfort, 2020).

Nausicaä of the Valley of the Wind (1984) is an eco-fable set in a post-apocalyptic world. The film investigates the relationship between humanity and nature, while also delving into themes of war, environmental degradation and self-development (Cavallaro, 2006; Mountfort, 2020). While Nausicaä of the Valley of the Wind (1984) received universal praise from fans, Miyazaki felt unsatisfied by the simplification of its themes. Notably, the relationship between humanity and nature.

Years later Miyazaki would address this simplification with the release of Princess Mononoke in 1997, an eco-fable set in Japan during the Muromachi period (1392 – 1572). Just like Nausicaä of the Valley of the Wind (1984), Princess Mononoke (1997) contains themes of war, environmental degradation and self-development. However, this time Miyazaki would not shy away from presenting these themes with all of their moral complexity (Cavallaro, 2006).

Throughout Princess Mononoke (1997), neither humanity nor nature is entirely good or evil, unlike Nausicaä in which good and evil are well defined. Cavallaro (2006) elaborates that “the coexistence of ostensibly incompatible features in Miyazaki’s protagonists is echoed by the nature of its topographies” (p. 12). Therefore, the moral complexity in Princess Mononoke (1997) would help to expand on many of the themes established in Nausicaä.

While Princess Mononoke (1997) does not share any characters or settings in Nausicaä of the Valley of the Wind (1984), the film recontextualises many of the themes first present in Nausicaä and examines them in greater depth. As a result, enthusiasts of Princess Mononoke (1997) often cite the film as a spiritual sequel to Nausicaä of the Valley of the Wind (1984).

References.

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

Miyazaki, H (1984). Nausicaä of the Valley of the Wind.

Miyazaki, H (1997). Princess Mononoke.

Mountfort, P. (2020). Pop genres week 5 anime 2 part 1 [PowerPoint Slides]. Blackboard. https://blackboard.aut.ac.nz/

Mountfort, P. (2020). Pop genres week 5 anime 2 part 2 [PowerPoint Slides]. Blackboard. https://blackboard.aut.ac.nz/

Week 4 Question

What was the cultural impact of Akira (1988), and why does it occupy a key place in the canon of anime greats?

Akira is a monumental achievement for not only Japanese animation but animation as an art form. The film’s domestic and international breakthrough played a tremendous role in paving the way for the global cultural phenomenon, ‘anime’. However, animation has not always held a universal cultural significance as it does today.

Before the release of Akira in 1988, animation was generally considered as a minor art form, often produced to appeal to an audience of young children (Napier, 2005). In Japan, children’s animated media, such as The Great Adventure of Horus: Prince of the Sun (1968) and Astro Boy (1963), were pillars of Japan’s animation industry and generated significant mass appeal (Mountfort, 2020; Napier, 2005). Therefore, animation wasn’t considered to have the complexity and depth of blockbuster, live-action films or other mediums. Nevertheless, with the universal success of Akira, the global attitude towards animation as an art form would change.

Released in 1988, Akira stands out from other major animated films for its high production quality, recognisable art-style and sophisticated themes. At the time, Akira was one of the most expensive Japanese animated films, bolstering an impressive multi-million yen budget (Harding, 2020). As a result, director Katsuhiro Otomo and the production team were able to push the limits of the animation medium.

Each frame of Akira contains an immense amount of detail, resulting in a compelling and fully realised setting of a cyberpunk, Neo-Tokyo. Additionally, the animation team was able to utilise 24fps animation during selected moments to enhance sequences, making Akira a technical masterpiece of animated media (Mountfort, 2020).

Additionally, Akira‘s story deals with sophisticated themes such as destruction, gang warfare and political corruption. While such sophisticated themes were not uncommon in Japanese animation, in the west, these were themes delivered a new experience compared to the predictability of western animated films (Napier, 2005). All these elements combined for an animated experience unlike any other.

The success of Akira has had a perpetual effect on the animation industry. Its success in the west was a powerhouse in developing the cultural phenomenon, ‘anime’, which is now enjoyed by millions worldwide cementing its place in pop culture history. Napier (2005) reaffirms by stating that Akira is a complex piece of art that has amazed and inspired audiences since its initial release.

References.

Bessho, B., & ‎Masaki, M. (1963) Astro Boy.

Harding, D. (2020). Akira anime film producer corrects 30-year fact on how much the groundbreaking film cost to make. Crunchyroll. https://www.crunchyroll.com/anime-news/2020/06/08-1/akira-anime-film-producer-corrects-30-year-fact-on-how-much-the-groundbreaking-film-cost-to-make

Mountfort, P. (2020). Pop genres anime 1 Akira [PowerPoint Slides]. Blackboard. https://blackboard.aut.ac.nz/

Napier, S. (2005). Why anime? In Anime: from Akira to Howl’s Moving Castle (pp.3-14). Hampshire: Palgrave/ Macmillan.

Napier, S. (2005). Anime and Local/Global Identity. In Anime: from Akira to Howl’s Moving Castle (pp.15-34). Hampshire: Palgrave/Macmillan.

Otomo, K. (1988). Akira.

Takahata, I. (1968) The Great Adventure of Horus: Prince of the Sun.

Week 3 Question

What gaps are there in Hergé’s representations of women?

Throughout The Adventures of Tintin, there persist numerous issues with Hergé’s representation of women and the roles that they occupy within each respective story. Hergé often relegates female characters to either extremely simplistic or inactive roles, with little to no character depth or development. Mountfort (2020) elaborates that throughout the Tintin series, women are almost solely confined to either background, domestic or quotidian roles. Evidence of which has been present within the Tintin series since the very first volume, Tintin in the Land of the Soviets (1930).

In this adventure, there is a distinct absence of meaningful female characters. The only females present are demoted to merely background props in crowds with no lines of dialogue. This nonexistence of female characters continues in later volumes of Tintin. Throughout both Explorers on the Moon (1954) and The Shooting Star (1942), females make exceptionally few appearances and contribute very little to each respective adventure.

In addition to the few appearances female characters do make in the Tintin series, they are also very limited in the roles which they play. Most of the female characters are assigned stereotypical domestic or maternalistic roles, evident in the numerous housewife and nursing characters spread throughout the series. Furthermore, in later volumes of Tintin, while more impactful female characters are introduced, such as Peggy Alcazar in Tintin and the Picaros (1975), they typically tend to serve as either comedic relief or a nuisance to the main characters.

This poor representation of women in Tintin suggests to the reader that such adventures are not suitable for women. Which is a dangerous message to send, considering the global success and influence of the Tintin series.

Hergé has attempted to justify his poor representation of women by stating that ‘women have nothing to do in a world like Tintin’s. I like women far too much to caricature them. And, besides, pretty or not, young or not, women are rarely comic characters’ (Sadoul, 1989, p. 93, as cited in Mountfort, 2020). Despite being aware of his poor representation of women within the Tintin series, Hergé does very little to remedy these issues in later volumes.

References.

Hergé (1930). Tintin in the Land of the Soviets.

Hergé (1942). The Shooting Star.

Hergé (1954). Explorers on the Moon.

Hergé (1975). Tintin and the Picaros.

Mountfort, P. (2020). Tintin, gender and desire. Journal of Graphic Novels and Comics. https://doi.org/10.1080/21504857.2020.1729829

Mountfort, P. (2020). Tintin and gender part 1 [PowerPoint Slides]. Blackboard. https://blackboard.aut.ac.nz/

Week 2 Question

What issues do his albums raise in terms of representation of ‘race’, and particularly ethnic and cultural stereotyping?

Historically, The Adventures of Tintin has had a troublesome past with its disturbing caricatures and depictions of various ethnicities, which can be traced back to the origins of Tintin in the early 1930s. In which, the original volumes of The Adventures of Tintin are heavily littered with racist caricatures.

In the volume Tintin In The Congo, originally published in the early 1930s, the native Congolese are caricatured as unintelligible and unsophisticated, displaying distinctly racist traits such as ‘juju lips’ (Mountfort, 2012). Additionally, the native Congolese only communicate through pidgin English, delivering lines such as “white master very fair…! him give half hat to each one! him very good white!” (Tintin In The Congo, 1931). Throughout this volume, Hergé frames Tintin as the white saviour sent to civilise and educate the Congolese. However, ‘Tintin In The Congo’ serves to promote the brutal colonisation of Congo in the late 19th century, that inevitably led to the death of millions of Congolese. Unfortunately, Hergé’s caricatures of Africans would continue to appear in later volumes of The Adventures of Tintin.

However, Hergé representations of different ethnicities in The Adventures of Tintin would begin to change in the mid-1930s with the creation of The Blue Lotus. The success of which can be attributed to Hergé’s newfound friendship and collaboration with a Chinese art student, Chang Chong-chen. Through this friendship, Hergé gains a competent level of knowledge and respect for Chinese culture which is then represented in the complexity and humanisation of Chinese characters and settings. While The Blue Lotus makes notable strides in its depictions of Chinese culture, it is not without its flaws. In particular, its depiction of the Japanese through the villain, Mr Mitsuhirato, as a pig-snouted and visibly subhuman (Mountfort, 2012).

After the publication of The Blue Lotus, Hergé, while not flawlessly, has been more cautious with his depictions of other cultures in his adventures. Additionally, Hergé republished earlier volumes of Tintin to address some of the troublesome content.

References.

Hergé (1931). Tintin In The Congo.

Mountfort, P. (2012). ‘Yellow skin, black hair…Careful, Tintin’: Hergé and
orientalism’. Australasian Journal of Popular Culture, 1(1), 33–49. https://doi.org/10.1386/ajpc.1.1.33_1

Week 1 Questions

How has the academic reception of popular genres changes over time?

Popular genres as a field of academic study has not always been widely accepted and studied among universities. Some notable forms of popular genres include anime, comics, fantasy, and science-fiction. Historically, academics have viewed popular genres as simple, exaggerated and formulaic forms of literature (Schneider-Mayerson, 2010). As a result, they were not taken as seriously in comparison to more elevated literary classics at the time. Additionally, the academic elite, typically white, Anglo-Saxon, English speakers, were able to maintain this perspective for many years. However, as popular genres continued to evolve and make use of technological advancements, they have slowly become accepted into the academic realm. Nowadays, popular genre papers are more commonplace in the university curriculum and often sit alongside, or are integrated with, traditional literary papers.

What might the value be of studying them?

Popular genres can be a beneficial subject to study for numerous reasons. As forms of popular genres continue to challenge genre conventions and evolve through new multi-modal techniques, popular genres continue to gain a wider global audience. Consequently, popular genres will hold greater cultural importance and will serve as a cultural artefact of a particular time and place. Additionally, through the accessibility of popular genres, traditionally marginalised groups and individuals can bring their unique experiences and perspectives into new forms of storytelling. Terry Eagleton (Prof. of Cultural Theory at the University of Manchester) argues that because of this, popular genres can now be used as a form of social commentary.

References.

Schneider-Mayerson, M. (2010). Popular fiction studies: The advantages of a new field. Studies in Popular Culture, 33(1), 21-35.