sulingyao

blog twelve

Can reality tv still be thought of as a genre given the high level of hybridity that exists?

Wood (2004) discovers the significantly increased confounding in contemporary cultures of the reality tv programme. More specifically, contemporary tv programme contains many cross-categories contents compared with its former forms and cultures, what was not allowed to combine is now allowed to unite and verse-visa (Wood, 2004). Thus, scholars start discussing whether need to identified contemporary tv programme as a new form of genre or sub-genre. To begin, define the various genres that have been applied in reality programme is an essential procedure due to the reality programme is intertextual construction (Wood, 2004). According to Wood (2004), the television programme can be divided into four conventional modes: Fact, fiction, entertainment and advertisement. Fact programme features factual televisions, “…documentaries, news, current affairs practical advice shows and religious broadcasts” (Wood, 2004. p. 47), for example. Fiction programme features “drama, feature film and some forms of comedy.” (Wood, 2004. p. 47). Entertainment programme features “game shows, musical acts, talk shows, variety programmes, broadcast sport and some forms of comedy.” and advertisement features to market products (Wood, 2004. p. 47).

This type of programme evolved with changes and feedback from its audiences. When the reality tv programme emerged in New Zealand, most of the feedback was negative to criticize that the programme was cheap and superficial. However, it has become the top programme in New Zealand and even represents more forms, talent shows, dating shows and cooking shows, for example (Hill, 2005). Thus, it is difficult to divide reality tv programme from the aforementioned elements due to the necessity of blending in reality programme. From my perspective, this type of programme is the “melting pot” of different genres and cultures due to it contains comprehensive contents from citizens’ daily life and changes in humans’ society. Thus, it is certainly a high level of hybridity. However, Wood (2004. p. 58) asserts that “A portmanteau term encompassing diverse types of programming, reality TV has proved difficult to define.”. Hence, the specific ideology and concept may not be able to describe and create.

References

Lorenzo-Dus, N., & Blitvich, P. (2013). Real Talk – Reality television and Discourse Analysis in Action. Basingstoke, UK; Palgrave Macmillan.

Wood, B. (2004) A World in Retreat: The Reconfiguration of Hybridity in 20th-Century New Zealand Television. Media, Culture & Society, 26(1), 45-62. doi:10.1177/0163443704039709

blog eleven

How real is reality tv?

The reality programme is particularly popular in contemporary cultures due to its entertainment purposes. However, how many people know that that popular reality tv programme is blended with facts and fiction? The original reality tv programme is from the United States in 1987, and soon the advantages of these types of tv programme have been discovered (Kilborn, 2011). Firstly, in views of commercial investment, the cost of production is cheap and thus companies do not need massive budget plans to start. Secondly, a large range of audiences. The competitive tv programme soon significantly increased between companies in the United States. According to Kilborn (2011), most reality tv programme does not follow the exclusive and planed footage due to the need to ensure that programme has adequate resources to attract viewers’ attention to follow their shows. More specifically, sufficient entertainment material is a crucial requirement for the contemporary reality tv programme, and this is also an imperative factor that caused many companies to collect resources from people and then pack and present it nowadays (Kilborn, 2011).

Advanced technologies also play a pivotal role in the development of tv programme. It upgrades the reality tv programme to a new era as hidden cameras and the ‘go-everywhere’ cameras devices can be concealed in clothes, small luggage and vehicle. This change due to the new electronic devices brings viewers to a new world that they rely on and trust the programme in terms of authenticity more than their friends and family.

Benefit from the advanced development of technologies, more ideas have been brought to the reality programme. More companies and directors started to blend facts and fictions within the programme for the strong entertainment result (Kilborn, 1994, as cited in Kilborn, 2011). However, several ethical issues arise as results. There are two main issues been identified: how have those material been obtained or collected, and how to ensure the safety and privacy of filed subject (victims) once the records went public. More sub-issues associate with these two main issues, private space for example. Countermeasures toward these issues are not given as companies have their defence system.

The author predicts more new types of reality programme will show with new technologies and designs, and low-cost high rating programme may continually occupy the mainstream programme (Kilborn, 2011). Finally, the author suggests audiences must not blind to face the fact that they need to recognize commercial and entertainment needs and requirements are the dominant factors to decide about what to make for the audiences.

References

Kilborn, K. (1994). `How real can you get?’: Recent developments in `reality’ television. European Journal of Communication, 9, 421-439. DOI: 10.1177/0267323194009004003

blog nine

In what ways can cosphotography be understood as a form of “fan capital”?

Unofficial and offline promotions and resources may consider a capital for fans and personal works. For instance, cosphotography.

Photograph plays a vital role in contemporary cultures of cosplay and it is a key tradition among fans and promotion within this culture. According to (Mountfort et al., 2018), cosphotography has developed through several decades as a tradition among fandom, it is worthwhile works to memorize for fans and it is also a record to reveal how this culture represented and performed. Cosphotography can be taking pictures of people in customs and recording videos. Both pieces and other forms of recordings are the “token” of players as cosplay requires their endeavor and devoting of time, skills, personal life and competencies. Those videos, photographs and even documentary contain many different features of players and their works, and thus prominent works are values to cosplayers as they may be role models to help other individuals to establish or improve their own work. Furthermore, cosphotography can be a means to increase players’ and works’ commercial capital within the culture. For instance, cosplayers’ active performances can bring more attention to their works and thus make their works worth. Mountfort et al (2018) also assert that cosphotography can make players work worthwhile.

Unfortunately, issues arise with the development of cosphotography. Mountfort et al (2018) explore the issue of “heterotopian and hegemonic control of cosplaying spaces”. Hegemonic occupied dominant position and power to control the spaces and thus others on the opposite positions may experience body shaming or cursing in the online community.

References

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

blog eight

What does the term détournement mean and how is it applicable to cosplay

Détournement is “…translated into English as ‘diversion’ and was the method of artistic creation used by the situationists” (Urban Dictionary, n.d.), also, it is “an artistic practice conceived by the Situationists for transforming artworks by creatively disfiguring them” (Oxford References, n.d.), then, this term was adapted by Situationist International (SI) in 1951. Détournement works in two main ways. Artists can either add details works to existing works or delete a range of works and then reunite the works in a new way (Oxford References, n.d.).

Cosplay can be interpreted as “cross-play”, it means that female fandom dress up or acts as male characters or male fandom dress up as female characters (Mountfort & Geczy, 2018). In the case of cosplay, cosplayers can be both directly reuse or delete the work to present or they can add their own features to recombine the work, and it involves cosplayers’ preferences of clothes, social concern, accessories and their body shape (Mountfort & Geczy, 2018). Moreover, fan fiction and produce relative videos are also forms of détournement in the cosplay field instead of solely dress up or act as characters. Audiences can directly change their position and role from readers to writers as détournement allows them to build their own values, stories and features to reconstruct the works in myriad ways. The authors also state that “Fan fiction and parodies, cosplay is part of the feedback loop that allows fans to enter into a text and transform it, turning readers into authors and blurring the distinction between fan and critic, as well as reader and text”. Correspondingly, détournement can be applied and represented in cosplay in various ways. It can be imitating the characters or fandom to recreate and reconstruct directly from the works in their fan fiction.

References

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

Urban Dictionary. (n.d.). Détournement https://www.urbandictionary.com/define.php?term=Detournement

Oxford Reference. (n.d.). Détournement

https://www.oxfordreference.com/view/10.1093/oi/authority.20110803095713704

blog seven

King (2010) 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.

King (2010) states three basic elements to identified horror genres, terror has considered as the most attractive top element and the following elements are revulsion and horror. The author even claims to be not proud if his collections receive both horror and revulsion feedback and reactions from the readers.

The most imperative and essential factor to create horror collections is terror. Terror is “…the unpleasant speculation called to mind when the knocking on the door begins in the latter story.” King (2010, p. 20). This relative definition could be found in several scenes from ‘The Exorcist’ (1973) that I watched years ago. The unpleasant speculations significantly increased after audiences found out that the 12-year-old girl Regan started to act creepy and disturbing. One of the most famous scenes is that Regan’s mother heard weird sounds from upstairs and she quickly went to the room to check and the moment she opened the door, she saw her daughter was holding the seizure and stabbed herself with the cloth that covered by massive blood. Audiences already knew Regan acted abnormally before this scene, and therefore the unpredictable situation in the room can lead the unpleasant speculation among audiences.

The second basic element is horror. Kind (2010) describes that horror is “… emotion of fear that underlies terror, an emotion which is slightly less fine, because it is not entirely of the mind. Horror also invites a physical reaction by showing us something which is physically wrong” (King, 2010, p. 20). This emotion of fear can also be found in the aforementioned sense from ‘The Exorcist’ (1973). Regan was covering with blood and it continually dripped with her stabbing, and later she turn her head 360 degree to stare at her mother is the most horrific scene in this movie as people knew that human being is not capable to turn their head to the back, and thus audiences can be shocked due to fear and dread. Both physic and scenery can actively make audiences to produce the feeling of dread and fear.

The least vital element is revulsion. King (2010) describes that it is the lowest criteria to create the horror collections as revulsion is a “chest-buster” reaction from the readers and audiences. The “chest-buster” scenes are not many in ‘The Exorcist’ (1973). From my perspective, the last exorcism between Regan (evil) and Doctor Karras may fit the description of revulsion. The disturbing face and background music, obscene language and slimy liquid and blood dripping off from Regan’s mouth, creepy eyes and violent actions are factors to lead to this reaction.

From my perspective, prominent and attractive horror collections are no only to make audiences feel an adrenaline rush while they watching but also people can still feel fear and dread when they recall the works. Moreover, it should emphasize the importance of terror. For instance, cultivate the terrifying atmosphere within the cinema or among audiences and to utilize properly the physical reaction. Maybe this is why ‘The Exorcist’ (1973) still popular after several decades.

References

King, S. (2010). Danse Macabre. Everest House.

The exorcist. (1973).

blog six

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?

Cosmicism is a developing subgenre of horror fiction and the philosophy of cosmicism is developed by the American writer H. P. Lovecraft, the philosophy is that “there is no recognizable divine presence, such as God, in the universe, and that humans are particularly insignificant in the larger scheme of intergalactic existence.”(https://www.yourdictionary.com/cosmicism). More specifically, this philosophy indicates that human is not a significant existence in the universe as well as the existences of religions and beliefs. The insignificant of humanity probably is the most attractive and prominent theme in this philosophy of sub-genre. Lovecraft once described his worldview as that nothing is eternal on this planet including humanity, humans’ judgment and social norms and criteria toward good, evil, morality and immorality are only the ‘Victorian fictions’ (Duran, 2016).

The idea of cosmicism can be found in many of Lovecraft’s collections. For instance, both work ‘The colour out of space’ (Lovecraft, 1927) and ‘The shadow over innsmouth’ (Lovecraft, 1936) reveal a sense of fear and dread due to the unknown or mystic of the universe. It is not difficult to see how insignificant humans and other lives on this planet from ‘The colour out of space’, species mutate, humanity and humans are crashed due to that accident. Moreover, dread and fear are presented in ‘The shadow over innsmouth’ by describing the hybrid creatures that humans and ‘Deep ones’ produced, the disturbing appearances, capable of atrocity and unknown facts evoke the fear from people. Eventually, the narrator goes to madness after he found out that the ancestors of his family are also the hybrid production with the ‘Deep ones’. ‘The shadow over innsmouth’ also represents the insignificant of humans and their dread of unknown and mysterious.

References

Duran, M. (2016). The real horror of Lovecraft’s cosmicism. https://www.mikeduran.com/2016/10/31/the-real-horror-of-lovecrafts-cosmicism/

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

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

Your dictionary. (n.d.). Cosmicism definitions. https://www.yourdictionary.com/cosmicism

blog five

In what ways might Akira, Nausicaā and Mononoke be considered prescient?

I have discovered five features in common from the aforementioned three anime:

1. People, especially the authorities try to achieve and utilize the superpower or advanced weapon to control the world or other social resources.

2. Humanization, civilization and society have been destroyed due to the greedy of humans.

3. Advanced weapons or superpower are the tools to damage and invade, however, people’s arrogant and greedy are key factors behind the technologies and weapons.

4. Human underestimates the power and punishment of nature, and they do not consider that other life or spices are also imperatives as human in the world.

5. The authority can decide innocent people’s lives and decisions.

According to the aforementioned three anime, all authorities from those anime try to gain and utilize the superpower to conquer, reign or control the world and other social resources. The tragic and disaster in ‘Akira’ are that government use human to experiment and thus they can control that powerful person as a weapon. In the anime ‘Mononoke’, people killed the holly creature in the jungle for gaining its immortal power. In the ‘Nausicaā’, countries control the advanced weapon to invade each other and poison and burn the forest for creating more living spaces whereas they do not know that the forest is the filter to purified poison water and air. Several ideas from those anime amazed me that they produced for 30 years and many stories and scenes have become true nowadays. For instance, people deforest to build more resident area, do not respect other spices and invade their living space, poison the water and air. Particularly, Japan government recently decided to dump over one million tons of nuclear contaminated water into the ocean, and environmental groups state that this decision is a disaster for all ocean lives as it might bring fatal impact to all the marine spices and even include other mammal lives that live on land (Zhigang, 2020). This consideration is supported by several scholars. Vaughan (2020) discover that many sciences assert to monitor the procedure of disposal of contaminated water and following treatments even though the wastewater might have less potential to harm marine lives if Japan government follows and completes every step to filter the water and meet the standard to release. Another prescient from these anime is that people’s desire power, to produce and control it as a weapon and thus some countries can utilize it to conquer others without caring for the innocent citizens. More importantly, those three anime alarm people that humans should aware of both advantages and disadvantages of technologies as it might not bring peace to humans, instead, it is potential jeopardy to the stability of society, development and civilization if the authorities utilize it improperly.

References

Vaughan, A. (2020). Should Japan dump radioactive water from Fukushima into the ocean?
https://www.newscientist.com/article/2258055-should-japan-dump-radioactive-water-from-fukushima-into-the-ocean/#ixzz6cF2bVhXx

Zhigang, D. (2020). Japan dumping nuclear contaminated water into ocean sparks global outrage. https://www.globaltimes.cn/content/1203850.shtml#:~:text=The%20Japanese%20government%20is%20about,power%20plant%20into%20the%20sea.&text=Diluting%20the%20contaminated%20water%20and,to%20reduce%20short%2Dterm%20costs.

blog four

What features make Akira cyberpunk, and how does it reference the wider subgenre? Link for question https://www.youtube.com/watch?v=sttm8Q9rOdQ&feature=share&fbclid=IwAR0ZOnQmyGabIr8FMiM6Lkz-DBE1–cZrqPuIA2StGx-4WIjVmBrOKS9GeA

The definition of cyberpunk is blurry and ambiguous. However, generally speaking, cyberpunk is a sub-genres and culture of science fiction, moreover, cyberpunk is mainly embodied in two forms, that are, cultures and genres (Neondystopia, n.d.). It is not difficult for audiences to identify cyberpunk literature. The movies and other forms of cyberpunk have significant descriptions and scenes of human urban which has neon light, hi-tech laser weapons or equipment and cyborgs (Indigo Gaming, 2019). Several attitudes and key features construct this term. For instance, anti-authoritarian and brand-averse attitudes, and the “high tech low life” feature (Neondystopia, n.d.). As Indigo Gaming (2019) states the cyberpunk genre is a sub-genre of science fiction and this culture were slowly accepted since 1980. More specifically, the cyberpunk genre intends to exhibit and explore the dark, dangerous side and factors of futurism and advanced technologies. For instance, the movie “West world” revealed that the whole society and social class have been radically changed due to an artificial program changed the safe order of those androids, the androids in the theme parks were originally designed to please and serve human being whereas all parks became to a slaughter place when safe order has been changed (Indigo Gaming, 2019). This familiar description and topic is also found in the anime “Akira”. In the future century, Japan government uses human to do the experiments due to they try to control an implausibility absolute power and the experiment finally succeed with a teenager whereas everything goes to different track due to that boy’s wanton uses of power and he does not have sufficient strength to control it. The consequences of the movie “West World” and anime “Akira” are cautionary for our human society and activities. From my perspective, the directors of the movie and anime intend to encourage and inspire people to reflect those consequences and tragedies to real human life and society, and to aware of the power of advanced technologies and development. Several key features make “Akira” a cyberpunk anime. For instance, urban-stylized motorcycles, tragic laboratory experiments and anti-authoritarian (Indigo Gaming, 2019).

According to Indigo Gaming (2019), this sub-genre reference science literature as it features advanced technologies. However, cyberpunk is more likely to explore and show the dark side behind that advanced development. It evokes people to aware and to reconsider the purposes of technologies as it may use to mask the underbelly of crime or spy on others’ private life while people enjoying its conveniences.

Indigo Gaming. (2019, December 1). Cyberpunk documentary part 1 | Neuromancer, Blade Runner, Shadowrun, Akira. [Video]. YouTube. https://www.youtube.com/watch?v=sttm8Q9rOdQ&feature=share&fbclid=IwAR0ZOnQmyGabIr8FMiM6Lkz-DBE1%E2%80%93cZrqPuIA2StGx-4WIjVmBrOKS9GeA&ab_channel=IndigoGaming

Neondystopia. (n.d.). What is cyberpunk? Neondystopia. https://www.neondystopia.com/what-is-cyberpunk/

blog three

How and why have Tintin’s gender and sexuality been question?

The gender issues are controversial in the Tintin universe, even the author of the Tintin collections, Hergé, had been argued that he tried to hid his femininity behind the character of Tintin (Bremner, 2017). There are two main issues in the Tintin universe been identified. That are, rare female characters’ existences in the Tintin universe and asexuality of Tintin. Hergé once admitted that he liked women whereas he did not want to caricature them and he also considered and acknowledged that women were rare existences in comic books and cultures. More importantly, Hergé believed that women were not capable to fit in the Tintin universe and thus women characters appeared hardly flattering in the Tintin collection. Furthermore, there is another issue that appeared in Tintin collections, that is, the characters in the collections are often commented and considered genderless. This perspective was firstly from a French philosopher, Vincent Cespedes. Vincent Cespedes (O’Connor, 2017) even argue and doubt that Tintin is a girl and her (Tintin) female features are not obvious due to Herugé tries to represent and build Tintin’s image as a tomboy. More importantly, Hergé tried to hide his femininity behind the Tintin. One of the key factor that Hergé built this tomboy character is that male appearance and disguised as a man can help Tintin to travel the world easier (O’Connor, 2017). Several things indicate that Tintin is a girl. Firstly, Tintin showed several traits that directly connected with femininity. For instance, in The Crab With The Golden Claws collection, Tintin’s attitudes and actions toward drunk captain were easily interpreted as a stereotype of femininity in that century (O’Connor, 2017). Secondly, Tintin wore female clothes whereas it was not necessary in those contexts (O’Connor, 2017). The aforementioned two key factors lead people to question Tintin’s gender.

References

Bremner, C. (2017). Great snakes! Is Tintin actually an asexual girl? THE TIMES. https://www.thetimes.co.uk/article/great-snakes-is-tintin-actuallyan-asexual-girl-v56jxxd25

O’Connor, R. (2017). Tintin is a girl and ‘probably asexual’, French philosopher claims. INDEPENDENT. https://www.independent.co.uk/arts-entertainment/books/news/tintin-woman-girl-femme-asexual-comic-character-herge-vincent-cespedes-philospher-theory-a7960561.html

blog two

Although some particular groups of people have controversial opinions towards Tintin (Bentahar, 2012). However, it remains to be a forerunner in several ways. At first, the original intention to creating Tintin collections is to promote the value of religion to Belgian children and then Hergé changed his intentions and incentives to create these collections especially after the album ‘the blue lotus’.

In the album ‘‘The Blue Lotus’ (Hergé, 1936), Hergé challenges the stereotypes of orientalism and sinophobic by creating a friendship between the main character Tintin and a Chinese boy that Tintin meets in his adventure and shows the invader image of Japan in this album. Japanese government once required an apology due to its prevalence and impact of this album. In this album, Hergé tried to erase the stereotypes of Chinese from mainstream western cultures in 1936 and tried to avoid falling into the sinophobic stereotypes due to the friendship between he and Chang Chong-chen. Chang Chong-chen is Hergé’s friend that introduces Chinese line drawing, poetry and more importantly, the political situation to him. Thus, Herge’s attitude and viewpoints in this album toward China were significantly different from other western mainstream perspectives back that time. This contemporary literature reveals western countries a new view of other cultures by representing a new value and viewpoints to them.

This album reveals a brave and sturdy hero image of Tintin and his Chinese friends that he saved in China and professor Feng from a Japanese drug dealer Yamato and help Didi to recover from the madness poison. More importantly, the invader image of the Japanese had been revealed in this album which was been denied before by the Japanese government. His friend Chang Chong-chen assists Hergé to describe and create this album from a more objective and comprehensive perspective and views and thus this album was a reality-based-on collection.

References

Bentahar, Z. (2012). Tintin in the Arab World and Arabic in the World of Tintin. ALTERNATIVE FRANCOPHONE, 1(5), 41–54. https://doi.org/10.29173/af12250

Mountfort, P. (2011). ‘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