Category: Uncategorized

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

In the story of the adventure of Tintin, women have always been disadvantaged. The image of women portrayed by Herge is basically neglected or rarely appears, even if they appeared, they are only referred as second-class characters as clumsy, foolish and suppressed by men. Just ike racial discriminations by Herge with intense meaning of stereotype.

Herge utilized the way that men are superior to women. As according to Mountfort (2020),’ Women have nothing to do in a world like Tintin’s’ shows the neglect of women, and the ability of women is worse than men, even if women are given some of the most important roles but merely to help men with chores as a secondary unit to men in order to reveal that men are superior to women. Nevertheless, the way Herge narrated women in his book has never drawn much criticisms, because, in the traditional era men supremacy was very common in every field of society at that time, this can be said as attributed by the patriarchal system at the time. As according to (Santos, 2019), patriarchy refers to the division of power based on gender, emphasizing the power operation mode of advocating masculinity and despising femininity, which means that women are always been devalued object, and compliance to men is the only option for women.

Many feminists advocate challenging patriarchy, they believe that patriarchy is the oppression of women and the main factor leading to gender inequality. However, as womens’ employment and education levels increase with times, the conditions and values of women have much improved, but the influence of the traditional patriarchal structure on many levels such as social habits and systems is still huge (Santos, 2019). At least, film and television work with sex discrimination rarely appear on the market. And the adventure of Tintin film directed by Steven Spielberg also used a rational way to eliminate stereotyped images of women, at least without any discrimination or harm (FEM, 2012).

Mountfort, P. (2020). ‘Tintin, gender and desire’. Journal of Graphic Novels and Comics, 1-17. https://doi.org/10.1080/21504857.2020.1729829

Santos, R. (2019). Challenging patriarchy: gender equality and humanitarian principles. Reliefweb. https://reliefweb.int/report/world/challenging-patriarchy-gender-equality-and-humanitarian-principles

 FEM. (2012). The Adventures of Tintin,” Gender and the Power of Nostalgia. Femmagazine. https://femmagazine.com/the-adventures-of-tintin-gender-and-the-power-of-nostalgia/

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

The stereotype is a fixed term of the impression, it is a kind of fixed impression instilled in the minds of people to derive a solid view towards particular people and things. The scope of the stereotype usually including race, gender, culture, country and politic. In society today, these opinions or views mainly come from the multimedia transmission, including news, film and television and entertainment works, which involve an ironic impression of others. For example, Asians know martial arts, French and Italians are very lively and romantic, Black Africans are very athletic, and women are the worst drivers (Quinn & Neil, 2007, P.2-3). Whether it is a positive or negative stereotype, it is always disgust people. 

The adventure of Tintin’s comics created by a Belgian cartoonist Hergé, which involves many controversial racial ironies. From the perspective of dialogues and narratives of Tintin, Herge utilized various stereotypes to depict other races to highlight his own racial superiority. For example, in “Tintin in the Congo” refects the colonial attitudes over African ethnic groups, in which Black Africans are portrayed as lazy, slaves and unintelligent like childish people who speak in pidgin French (Mountfort, 2020). Tintin even refers to Belgium as the fatherland of African, meaning European people are superior over Black African (Mountfort, 2020).

In the Blue Lotus where the plot set in China, there are still many discrimination or contempt meanings towards the Chinese nation, which characterized the view of the world towards the Chinese, like how Herge narrated in Congo. For example, the Chinese were depicted as pigtailed torturers, also implies the Chinese government as brutal (Mountfort, 2011, P.30-35), just as most of the Western media criticizing the government of China today, as “commie” as a “tyranny regime” and without fairness judgement of good side of the Chinese government(Wu, 2010, P.1 & 5). In the story, there are also abusive dialogues towards Chinese people as dirty little yellow Chinese. When Herge describing the invasion of the Japanese in China, Herge did not consider views and feelings of the Chinese ethnic group (Mountfort, 2011, P.38-42). Besides, the adventure of Tintin also involves racial discriminations on Muslims, Indigenous peoples of the Americas and people of the Soviet Union. It despises the patriotism of the Soviet Union people is because of brainwashed by propaganda (Ha, 2015), which indirectly implies that the patriotism of Westerners is because of cleverness. Herge uses stereotypes throughout “Tintin”, and negatively described different races.

As for the reason why Herge had a discriminatory description, it can be said that the main reason was due to the environment in which he lived in Europe at the time, so the information he received was all positive news about the Western or negative news about other countries. As according to Mountfort (2020), Herge was subjected to the prejudices of the bourgeois society and under the purely paternalistic indoctrination during 1930, so he narrated those other non-Western ethnic groups based on the standards Herge received or heard. Furthermore, Herge was within in a European environment at the time, so he did not have a broader international outlook regarding the cultures and situations of other countries. As according to (Ha, 2015), Herge was only 22 years old who had never left Europe when he started drawing “Tintin” comic book, besides, it was a period of prosperity for Western civilization and modernization.

Quinn, K. A., & NEIL, C. (2007). Stereotyping and Impression Formation: How Categorical Thinking Shapes Person. The Sage handbook of social psychology: concise student edition, 68. https://www.researchgate.net/publication/292932601_Stereotyping_and_impression_formation_How_categorical_thinking_shapes_person_perception

Mountfort, P. (2020). ENGL602 Popular Genres: Tintin and Blue Lotus[PowerPoint slides]. Blackboard.  https://blackboard.aut.ac.nz/bbcswebdav/pid-5273121-dt-content-rid-12501818_4/xid-12501818_4

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

Wu, J. (2010). An Empirical Study of Stereotyped Images of China in American Media. Journal of Language Teaching & Research, 1(6). Quingdao University. http://www.academypublication.com/issues/past/jltr/vol01/06/26.pdf

Ha, T, T. (2015). Is Tintin racist? Uproar in Winnipeg opens new chapter in old argument. The Globe and Mail. https://www.theglobeandmail.com/arts/books-and-media/is-tintin-racist-uproar-in-winnipeg-opens-new-chapter-in-old-argument/article23552666/

Week: Cosplay part 2

What are some of the problematics around cosphotography in terms various (potentially unwelcome) gazes?

Unwelcome gaze in cosplay mainly comes from the crowd of photograph shootings, and most of these crowds are known as male gaze, and these male gazes will be specifically towards on female cosplayers and making female cosplayers feel distressed. Several factors can be discussed for this type of problematic gaze.

First of all, there are a large number of females participating in the cosplay community. The main reason is that females tend to prefer to express themselves on the platform stage. As according to (Leng, 2014, P. 97-99), it is the nature of women to dress up beautifully, and they prefer to show their own characteristics. As a result, cosplay platform has become a performing stage for females to express their beauty and self-confidence. Just as Mountfort (2018, P.48-53) said, cosplay has become the yearning performance of many females as a culture of “Do It Yourself”, that is to say by playing their favourite fictional characters to benefit the audience or spectators, and then through the responsive feedbacks of audiences to satisfy their desire for beauty. However, this phenomenon could attract many unwelcome gazes from male spectators inevitably.

Second, high population of male audiences. If women are performers, then men are the admirers or enjoyers who are here to appreciate the elegance of female actors, Just like the 5th element of cosplay described by Lamerich, the male audiences are also part of cosplay process in guaranteeing the so-called authenticity” (Mountfort, 2018 P. 58), by taking photos and requiring particular poses of cosplayer, as long as not to breach the limit of the personal boundary, cosplayers are willing to accept or cooperate. However, some photograph audiences might overexcited and likely to request excessive requirements. For example, too much demand for sexual demands(poses) will also cause distress to female cosplayers. Furthermore, the main reason for the high population of male audiences in cosplay exhibition show is that males tend to focus on their favourite hobbies; such as appreciating or enjoying anime, video games, collecting items, etc., so they are particularly sensitive and even excited about females cosplayers to play their favourite visual female characters, this is also one of the phenomena of so-called otaku culture like in Japan (Ikeguchi, 2018, P.251-253).

Thirdly, the scope of female cosplay, specifically on female cosplayers in which if the female character that female cosplayer play is too sexy, such as the character like “Chun-Li” in Street Fight or “Mai Shiranui” in King of Fighter, it is easily to attract a lot of unnecessary or unwanted attentions including sexual harassment and stalker (Leng, 2014, P. 107). However, if the characters they played are categories like ugly, funny, horror, or a female playing a male role, there will be no harassment of being physically assaulted, because usually male is stimulated by the female due to the way of dressing.

Finally, the gaze of laymen or an outsider of cosplay community is another unwelcome gaze, these people are also one of the audiences, but their purpose is not to appreciate the efforts of cosplayers, instead, to offset their performances by some kind of abnormal behaviours. For example, some audiences will use sharpness eyes to make performances decline or to make cosplayers scared and nervous. Another is the unwelcome gaze is much more like discriminative gaze, where these outsider audiences will laugh and joke cosplayers by photo-taking their imperfect or flaw of the cosplayers. For example, these outsider audiences are likely to upload the imperfections of cosplayers, to ridicule in a stereotypical way including their looks, body shape, and even ethnic race which is equivalent to a personal assault that declines their confidence and dedication (Mountfort, 2018, P. 62-65).

Leng, R. H. Y. (2014). Gender, sexuality, and cosplay: A case study of male-to-female crossplay. The Phoenix Papers. https://dash.harvard.edu/bitstream/handle/1/13481274/Gender-Sexuality-and-Cosplay-by-Rachel-Leng1.pdf?sequence=1&isAllowed=y

Mountfort, P. (2018). Cosphotography and Fan Capital. In P. Mountfort, Peirson-Smitth, Anne, & A. Gaczy, Planet Cosplay (pp. 45-74). Bristol: Intellect Books.

Ikeguchi, B.T. (2018). The Otaku Culture and Its Cultural Ramifications. Tsukuba Gakuin University, Tsukuba City, Japan. http://www.davidpublisher.org/Public/uploads/Contribute/5c3d54466acfc.pdf

Week 5:

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

Princess Mononoke is a fictional genre or a subgenre of fiction which related to the adventure fantasy and natural ecological enlightenment. “Princess Mononoke” is always referred to as a prequel to “Nausicaa of the Valley of the Wind”, so here are three perspectives including; historical settings, genre setting and the compensation of the Author to rationalize the prequel statement.

On the historical setting, “Princess Mononoke” is set in the background of the Muromachi period in Japan around the year from 1392 to 1572. It is an era for the flourishing of art and literature such as Noh theatre, Zen garden and tea ceremony, and prosperity of commercial, agricultural and architectural (Mounfort, 2020). The author Hayao Miyazaki utilized visual effects to depict the features of the Muromachi era such as the Shinto Shrine and other Japanese-style buildings to represent the symbol of the establishment of Japanese culture and relics (Cavallaro, 2006). While the setting Nausicaa is set in the postmodern or near-future collapsed world, because of the Apocalyptic war, civilization declined, created the vast toxic jungle, and giant mutant insects that can be seen everywhere (Miyazaki & Takahata, 1984). The two have one thing in common which is the militarism, in both stories, there is this kind of military group, behind the group there is always a warlord leader with arrogant ambitious like Lady Eboshi, Kushana and Kurotowa, they will trample innocent lives without hesitation as well as environmental destruction for the sake for the power and interests (Miyazaki & Takahata, 1984). As according to Mountfort (2020), most of Miyazaki’s films portray the dangers of militarism, problems include nationalism and the spectre of the arms race, and meaningless implicit criticism of the war.

In terms of genre setting, both “Princess Mononoke” and “Nausicaa” are eco-fable, as both stories are adventures for the purpose to prevent humans from destroying the natural ecology. The only difference is that “Princess Mononoke” has inserted many myths, spirits and gods into the story. For example, other than the protagonist “San” has psychic abilities to communicate with animals and gods, animals, the animal characters who pose with god’s spirit like Kodama (the souls of the forest), Nago (boar-God) and Okkoto (Old boar-God) represent the anger towards the destruction of nature by humans, and further expanded the “fantasy” element of “Princess Mononoke” and created essentially a personal myth (Cavallaro, 2006). The most prominent is that Hayao Miyazaki utilised the Shishigami character (forest spirit and Night Walker) as the nature itself to convey the message of nature, and implies that the development and destruction of greed will eventually lead to the destruction of mankind. Nausicaa, on the other hand, is a pure fantasy type anime without mythological elements, the author only used the role of Nausicca as the mediator for between mankind and nature through communication with animal and ecology, just like the character Nausicaa from Homer’s Greek epic the ‘Odyssey’, and with the combination of Japanese mythology featuring a girl who could be able to interact with animals and eco-environment (Mountfort, 2020).

The compensation of the author. As mentioned above, although “Princess Mononoke” implies that the development and destruction of nature will eventually lead to the destruction of mankind, I think that after “Princess Mononoke”, mankind still caused disasters to nature for the sake of prosperity which henced the collapsed world of Nausicaa. As according to the Miyazaki himself, that he did not intend to solve the global problems from “Princess Mononoke”, and claimed even the war between the forest gods and mankind did not end successfully or even the hatred and massacre are continuing, that still cannot stop humans from over-enjoying or excessive-using resources from nature as there are still many places to survive(Cavallaro, 2020). Furthermore, Miyazaki did not satisfied with “Nausicaa” as he feels very sloppy about the setting of Nausicaa, many aspects including the setting of the world, have not been explained enough of why it constructed on this way (Vavallaro, 2020). Therefore, “Princess Mononoke” was created as a supplement for the lack of settings of Nausicaa. In other words, “Princess Mononoke” explains and paves the setting of Nausicaa’s world.

Mountfort, P. (2020). ENGL602 Popular Genres: Anime part two[PowerPoint slides]. Blackboard.  https://blackboard.aut.ac.nz/bbcswebdav/pid-5326017-dt-content-rid-12629965_4/xid-12629965_4

Miyazaki, H. (Director). & Takahata, I. (Producer). (1984). Nausicaä of the Valley of the Wind. [Film; special ed. on DVD]. Toei Company.

Cavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki (pp.5-13). London: McFarland & Company.

Week 10

What distinctions are there between alternate history, postmodern alternate history and uchronie genres?

Alternate history is classified as fictional or subgenre of historical science fiction. The creation of Alternate history is mainly focused on the doctrine of “WHAT IF”, that is, what happens next if a certain historical event changes. It’s like Nazi Germany and the Empire Japan in the “Man in the high castle”, who defeated the Allies in the WWII and then divided the world and the United States, this is the world in the story where the protagonists begin their adventures and battles (Mountfortl, 2020). From the perspective of “Man in the high castle”, alternate history is set in real history and a certain event, the only critical element is swapping the roles of the two sides. For example, the Axis became the winner of WWII who supposed to be the defeats, while Allies became defeats who supposed to be the victors of WWII. This is also the most fascinating part of alternate history; the “what if” concept makes the audiences curious about the genre.

Postmodern alternate history, on the other hand, is very similar to the original alternate history, but postmodern alternate history focuses on a single event known as synchronic, where a threat must be stopped in order to save the world or by doing something to prevent a certain disaster happening. It also combines many postmodernism concepts like postmodern relativism, which emphasizes pluralism in favour of multiple coexistences (Mountfort, 2016).

Uchronia is a French term, which combines the concepts of alternate history and postmodern alternate history, and with the combination of Pure Uchronia, Pural Uchronia and Infinite Uchronia. Pure Uchronia refers to a single alternate history that has been changed by a certain act. Pural Uchronia refers to there is more than one world within parallel time and space. Infinite Uchronia, in which there are many or even countless different parallel worlds (Mountfort, 2016). In the story of “man in the high castle”, from the original single alternate history, due to excessive frequent deaths caused parallel time and space imbalances, thus created the possibility of travelling through time and space into different parallel worlds, and each parallel world has different development and consequence because of different major choices made (Scott & Cedar, 2020).

The most prominent hint of “man in high castle” is that every change or decision would lead to a good or bad fate. The director Philip Dick used the elements of alternate history, postmodern and Uchronia to turn the tragic alternate world into as good as the original real world. For instance, in the story, the protagonist Alexa, inspired by the Book I-Ching, found the way the United States should be by traversing into the original world. Finally, together with the resistance groups successfully overthrow the colonization of Japan and Germany, and re-established the United States as wonderful as the United States in the original real world (Scott & Cedar, 2015-2019).

Mountfort, P. (2020). ENGL602 Popular Genres: The Man in the High Castle, uchronie and the I Ching [PowerPoint slides]. Blackboard.  https://blackboard.aut.ac.nz/bbcswebdav/pid-5273124-dt-content-rid-10490442_4/xid-10490442_4

Mountfort, P. (2016). The I Ching and Philip K. Dicks The Man in the High Castle. Science Fiction Studies, 43(2). doi:10.5621/sciefictstud.43.2.0287

Scott, R. (Excutive producer) & Cedar, M. (producer). (2015-2019). The man in the high castle [TV Series]. Amazon Studio

Week 1

1.  How has the academic reception of popular genres changes over time
2. What might the value be of studying them

the term Genre fiction refers to a popular novel written with certain rules such as romance novel, mystery novel, martial arts novel, fantasy novel, and science fiction. Originally referred to as romance genre, mystery genre, etc. they were collectively referred to as genre fiction. However, genre poetry or genre essay cannot exist, but genre criticism can exist, so it can be called genre literature.

Genre fiction belongs to a field of popular fiction, the perception that it is inferior to novels on a pure literature. Although it is completely separated from the choice of the public to enjoy literature, this recognition inevitably leads to a tendency to lower genre fiction by popular opinion through media advertising enables the mindset to accept the other judgment bestowed by literary powers

 Those who have grasped the existing literary power think of genre fiction as an enemy who has forced itself into the market of selling books nationwide and locally. This is the way to go through with changing perceptions of society. It may be difficult to take the first step in such a problem until we abandon the old-fashioned feelings that the public enjoys and interprets the emotions humans desire as taboo or entertaining by their literature needs to be immoral, seriousness, and pain.

There is no superiority between genres in literature. It is just that there are good and bad works. Every distinction and discrimination are only a system of knowledge created by discourses. There are many people who have gone out as advanced readers through genre fiction. Genre fiction, which shows significant influence in the era of cultural industry. the discovery of cultural archetypes of each nation and strategies for content creation. Also, the cultural industry is being combined with various cultural industries such as video and music, thereby maximizing its marketability and helping to secure competitiveness. The wider impact on world culture icons will flow in the form of a calibration of cultural media platforms: digital video, music, and games. The study of genre fiction will become an increasingly important keyword in the cultural industry in the future. Therefore, it is more important than anything else to have marketability and competitiveness. Since genre fiction is an essential new growth engine of high added value, strategic research is needed. In advance genre fiction is fortuitous in bringing out commerciality as one of the aspects cultural industries.

Reference

The 17 Most Popular Genres in Fiction – And Why They Matter. from https://www.writerswrite.co.za/the-17-most-popular-genres-in-fiction-and-why-they-matter/

Herold. (2019, January 30). Book Publishing Market Overview for Authors – Statistics & Facts. https://bookadreport.com/book-market-overview-authors-statistics-facts/

Tale Foundry. (2016). Are Movies Getting Dumber? — “Genre Fiction vs. Literary Fiction”. https://www. https://www.youtube.com/watch?v=GVCtWZSt58w

Mountfort, P. (2020). AUT Blackboard. Popular Genres ENGL602. PowerPoint Week 1. https://blackboard.aut.ac.nz/webapps/blackboard/content/listContent.jsp?course_id=_96250_1&content_id=_5273101_1&mode=reset  

Week 2 Questions – Tintin

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

The legal dispute began in 2007 when Congolese Belgian citizen Bienvenu Mbutu Mondondo filed a lawsuit against the release of the comic book, claiming that the comic book is full of racial demeanor. Mbutu argues that “it makes people think that ‘black people are savage’.”

However, the law ruled, “It is clear that this cartoon came out in 1946, when colonial thinking prevailed, and it was not intended to create a threatening, hostile or contemptuous atmosphere in the plot.”

Mbutu’s lawyer said, “Mbutu will hold on to this case as far as possible,” and said he will appeal.

The first edition of the controversial book, Tintin in the Congo was published in 1946 when Congo was under Belgian colonial rule.

Due to the Belgian colonial rule the cartoons published during this time were allowed free willing without the backlash of public opinion reflects the period of systematic discrimination towards ethnic minorities and caused racial injustice of accepting this behaviour in the controversial book , Tintin in the Congo. Certain images throughout the Tintin in the Congo cartoon have presented explicit white supremacist views through detailing and portraying the narrative of black natives lying flat behind Tintin and puppies, saying, “White people are very great and spiritual,”. Tintin series portrays not only blacks but also Asian and Native Americans as of barbaric image, nature, and practices.

Herge said in a media interview during his lifetime, “When I drew Tintin in the Land of the Soviets and in the Tintin in the Congo. I was fed the prejudices of the bourgeois society that surrounded me, Africans were great big children.  Herge drew cartoons based on that standard,”.

Historical background After the success of Tintin in the Land of the Soviets, Herge wanted to send Tintin to the United States, but Norbert Wallez, the editor of the far right, instructed Hergé to draw a story that took place in Belgium’s ruled Congo.

Wallez believed that Belgium’s colonial rule of the Congo at that time needed to be promoted, as Michael Farr Pa pointed out, in 1928 the memory of Belgian King Albert and Queen Elizabeth’s visit to the colony was still of impact during the period of settling the Belgian colonial rule of Congo forcing their colonial ideology and power upon the masses.

 During Leopold’s reign, about 10 million Congolese died in brutal rule, such as cutting off their hands if they failed to meet their quotas. Hergé later sarcastically referred to the Congolese as “our beautiful colony that needs us very much.”

Reference

Independent Digital News and Media. Herge’s ‘racist’ adventures of Tintin? Not so, court decides. The Independent. https://www.independent.co.uk/news/world/africa/herges-racist-adventures-of-tintin-not-so-court-decides-6894770.html.

Vrielink, J. (2012, May 14). Effort to ban Tintin comic book fails in Belgium | Jogchum Vrielink.

Week 3

Question 1 How and why have Tintin’s gender and sexuality been question?

The discussion about Tintin’s gender has been debated during the time of internet forums. As the absence of female or physically attractive characters in Tintin does not represent his gender or sexual preference desires.

There is no sexual dynamics in Tintin comics, and homosexuality is a clear choice of sexual behaviour, and in this book, there is no such story at all.  In Tintin comics, you can find the same answer as why no character dies. Because it’s a children’s cartoon for children’s readers. Judging gender and his sexual identity directs no influence of the ideas being presented however the awareness to reach the age appropriate audience during the initial release of the comic were heavily influenced directly by the period of release where general public opinion was more close minded and conventional towards the ideas that embed misogynistic culture and ideas towards male central characters will embellish male characteristics resulting in diluting the pool od demand towards all genders demand being equal to read the adventures of Tin Tin .

In the case of Tintin, as the series progresses, there is less clear information about which country the land is from. This can have the effect of making it easier for foreign readers to immerse themselves in the main character when the cartoon is translated into a foreign country.

Hergé intentionally made Tintin avoid the feelings of love, and in the cartoons, there were blondes and young women. Scenes were mainly used to create intrigue or action. the lack of heterosexual love in Tintin requires some understanding of the laws of pre-World War II publications in France. Currently, the legal regulations for children and adolescents were severe. The newspaper where Tintin was serialized was also a Catholic newspaper, so it helps us understand why Tintin does not have a sexual dimension.

The adventures of Tin Tin were made with the intention to be read by teenagers, so the moral purpose is noted. He is philanthropists. He saves people from trouble without racial distinction. Tin Tin portrays bravery, the difficulties of dealing and overcoming dangerous circumstances and scenarios, displaying the ability to be creative and work alongside your intuition. Use your wisdom to get through difficulties. He is philanthropists. He saves people from trouble without racial distinction. According to author Hergé, his brother is the model of Tintin. His hairstyle was the same as his brother’s hairstyle. But since Tintin became famous, my younger brother, who was a career soldier, was so stressed out that he looked like Tintin that he shaved his head. Hergé used it as a model to create a character, so the character that was born was Colonel Spoons, the villain

Reference

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

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

Week 4

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

Akira is considered one of the most influential animations of all time. Akira is even mentioned as the most important work in the history of Japanese animation. It has become a novelty of the cyber funk genre and is widely popular and long-time cult film has global recognition for its high praise film that envelops the audience into film to be overwhelming immersive cinematic.

  Tetsuo, Shima the deuteragonist and main antagonist of the AIKRA franchise, a monster who enabled himself to gain overwhelming power after an incident. He elicits a sociological imagination of the ambivalent attributes of modern civilization of science and technology, and the ultimatum; self-destructive power all three representing the great achievements of human history with reflection towards it discrepancy of human error leading significant warring for future preservation at the cost of driving human forward through attaining the impossible.

 Through this, we can say that the belief in “development” and “progress” related to science and technology is an empty hole in optimism about technologically civilized society.   

If Tetsuo’s superpowers were to be associated with the mythical story of Prometheus, we can relate this to the concept of ‘fire’.

Prometheus is the most humanized god who brought fire to the human world, and he is later punished severely for his actions by Zeus.

The issue that should be noted in this myth is the nature of fire in which he gifted to humanity. Fire in this myth is expected to be controlled under the power of Zeus, and human interest in fire is considered taboo. Therefore, Prometheus’ outlandish act of stealing fire and passing it on to humankind is observed to be a challenge to the gods before it is seen as compassion towards human beings. It symbolizes the deadly nature of human desire to multiply infinitely towards divine tools.

Based on the similarity with Prometheus, I would like to interpret it as “Tetsuo,” who stole technology in a near-future. The tragic end of ‘Tetsuo’ a punishment for self-cultivated ambitions, and a destructive overthrow of social desires that have been the foundation of these self-cultivated desires. 

 It can be said that the second main character, Tetsuo, declared the end of the Homo sapiens era in a new way. It refers to Homo sapiens who possess the knowledge on how to use tools to supplement intrinsic human abilities. It also contains the narcissistic self-awareness of mankind living as the dominant species of earth. However, it is no doubt that the human body and spirit, as well as human to human network of relationships, are subordinate to technological power today when what was considered a technological tool, began to enter the human interior. Here, we use Akira to illustrate the reversal of the situation in which humans are equipped to the outcome of science and technology. Specifically, after describing a technological civilization that cannot be overcome by relying on natural human power, it shows a situation in which individuals cannot resist such an environment. The explosion of ‘Tetsuo’ makes us reflect very profoundly on the human excesses that have become the driving force. Within the direction and speed of the development of science and technology, it indicates that there is a latent instability factor that the present civilization has not realized.

References

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

Week 5

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

It is the most remarkable result of Hayao Miyazaki’s macroscopic stories, this is considered one of the best works in animation history. There are also dramatic elements of the main character’s internal conflict, mental growth, awakening to the world surrounding him, and the nature of adventure elements that venture as they leave west to solve their curses. It is an animation that contains various discourse under the big ecological theme of symbiosis between nature and human beings.

Nausicaa is the only person in the film, “Nausicaä of the Valley of the Wind”, who can represent both human and natural positions. She strives for human survival, but on the other hand, she also struggles to tell the truth of nature and bring about coexistence. It was drawn in such an ideal way. In this regard, “Nausicaä of the Valley of the Wind” withholds a strong comparison to “Princess Mononoke”. 

In “Princess Mononoke”, there is no one like Nausicaa, who is a perfect idealist which represents everyone’s perspective. Ashitaka is a human being who can communicate with animals, but as a result, he has failed to obtain consent from the villagers for his view of nature.

San is a person who grew up with wolves in nature but was not trusted by all the members of nature in “Princess Mononoke”. A herd of wild boars and their chief, Okkoto-nushi, represent the idea that San was not trusted. Unlike the nature of “Nausicaä of the Valley of the Wind”, nature in “Princess Mononoke” is portrayed as something that can act exclusively at any time for survival.

Humans can’t unconditionally define themselves as absolute evils due to the construction of an ideal society that returns by destroying nature. This is a rare sight in the world of Nausicaa. Alternatively, the pattern of the ending is different. With Ashitaka’s efforts to somehow stop the fight, San becomes a little closer to humans, and Eboshi admits her own mistakes and vows to make a better village. was not only more realistic, but also ignited the possibility of continued development in the future.

Week 6

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

Cosmism is a philosophical view symbolizing cosmic fear, which refers to the overwhelming despair and fear of space, disaster, and transcendental God, which appear in places like the unknown, deep-sea, and cosmic world that we have not yet recognized. Even in Lovecraft’s novel, the theme is the fear of extra-terrestrial species with secrets that give us the mystery of the universe that humans cannot know or fear, which be Cosmism. Cosmic horror is a sub-genre of horror that utilizes Cosmism. Cosmism is based on fear, which is told with important feelings in myths and religions. These Cosmic horrors are written about human fear and end nihilism in a dystopian atmosphere. Especially easily seen around us, “Alien” and “Budbox” and “The Mist” are well-known cosmic-themed films in which humans are brutally attacked and killed by unknown alien species and supernatural beings.

Lovecraft said this in his essay book. It is a sentence that reflects Lovecraft’s opinion of fear. To describe Lovecraft’s philosophy of work in one word, it is Cosmism. The fear expressed in his novel has a distinct element from the visual and auditory fear revealed in the general work. The fear of unknowns, vast universes, or beings that cannot be seen, heard, or felt, is revealed in the work. The images and moods of these horror descriptions serve as a tool to express his unique sense of subject matter very well. Cosmism is a philosophical view of fear.

Lovecraft’s creation, Cthulhu, also sleeps deep in the sea, and Dagon s also a monster living in the sea and his subordinate species, respectively. In the West, people are disgusted by marine animals, and in the case of deep-sea creatures, they are more disparate in appearance.

 The outward grandeur or creepy external portrayal of the extra-terrestrial life, Old One, architecture can be frightening.

There could be a violent situation and a primal fear of death being slaughtered by them. However, the theme of “human beings are very insignificant” in the absolute ancient alien civilization is a typical characteristic of Lovecraft’s Cosmic Horror. This is quite out of the ordinary plot.

The horror monster shown in the general myth is the object of Oedipus overcoming. However, the monster in Cosmic Horror is like unknown mother nature that humans cannot resist.

The distinction between traditional cosmic horror is that the genre deals with cosmism, or unknown fear, and cosmic fear. This sense of subject sets the plot apart. Thus, in general, works of the Cosmic Horror genre are tragic. Lovecraft’s unique horror philosophy is contained in “Shadow over Inns mouth”. Human beings are weak and cannot solve cases in the climax. Experience the greatest fear in the climax and fall into despair. As a result, many works face tragedy at the end of the play or merge with fear, as Nietzsche said.

Reference

Stableford, B. (2006). The cosmic horror. Icons of Horror and the Supernatural: An Encyclopaedia of Our Worst Nightmares

Cosmism. (n.d.), from https://en.wiktionary.org/wiki/cosmicism

The H.P. Lovecraft Archive. https://www.hplovecraft.com/.

Week 7

1. 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.

According to King (2010), there are some who think fear is of no value other than simply stimulating human peripheral nerves, while others who like and enjoy horror genres may be considered abnormal. Horror speaks bluntly of symbolic things that we fear to talk about,  and thus, through books or movies, we indirectly contact these elements and use them as a tool to infinitely unfold the world of our imagination which previously may have been closed. He states that Horror is a useful being that gives us the opportunity to exercise the emotions they continuously demand. Horror novelist Stephen King classified these horrors into three categories. Specifically, things classified as a subgenre of horror and refers to psychological horror. 

The first category is ‘Revulsion’ (Gross-out), an emotion linked to the instinctive feeling of disgust toward an occurrence that may be considered unsanitary or unnatural to the highest degree. The shinning director Stanley Kubrick and screenplay also written by Kubrick explores an iconic and historic film in the genre of Horror released 13th June 1980. Kubrick exactly orchestrates this through the central figure “Jack Torrance” due to his physical settings being central to developing the gothic terror narrative to instil fear into the audience. This is highlighted throughout the representations of creating suspense in what will happen. The psychological terror that ensues Wife and Son to be in a state of terror from Jack tuned psycho murderer. All these aspects that represent gothic terror presented through the central characters Jack, Son “Danny Torrance” and wife to Jack and mother to Danny “Wendy Torrance”.

The Shining through the characteristics of blood, scenes that are visibly scary and a physical manifestation which was presented through Jack turning psychotic. The supernatural spotlight presented  in scenes such as the supernatural room 237 were Jack and Danny both separately has experiences in room 237 that were estrange from normal outcomes and revered icons of horror represented through a manifestation of what details insanity and strange psychological episodes of breakdown for Jack.

Secondly is ‘Horror’. Horror refers to huge events that humans do not usually experience and have little to absolutely no power over. Examples of this can be the Cthulhu myth, or an apocalyptic event such as a Zombie epidemic or a Nuclear war. The everyday setting Kubrick aims to uproot through the hotel. Produces eeriness by employing the connection of the supernatural added in the start of the film. The hotel was built on ancient Native American land which evolves the setting to become less common when wanting to reel the audience,  into seeing more than a normal and boring setting of a hotel located in snowy and Rocky Mountains that is isolated from nearby towns. Kubrick creates an agent of terror in a setting that is common and relatable in humans everyday lives when going on holiday they check in at hotels to create horror, “ the horror film can bring uncomfortably close to the worst and what could happen…Horror films can scare us badly, it can make us want to vomit and it can be disturbing” ( Karin, p.2).  Kubrick transgressed the normality of the setting into creating possible or almost certain danger in everyday circumstances to be consistent with horror conventions that produces the feeling of revulsion through suspense, imagination and fear that is out of sight produced from the setting of the hotel locations and placement with in the plot of The Shinning which is essential to the genre of horror

Third and finally there is ‘Terror’. King (2010) said Terror is the most sophisticated horror, which refers to an unpleasant feeling in situations where we don’t know if you are safe or unsafe. Often this comes from a lack of understanding about the situation one might be in along with little knowledge as to deal with a certain situation. 

but when it comes to dealing with something that is not inherently safe or unsafe, our human brain becomes confused in judging its level of harm, presiding to cause panic and the aim represented in The shinning director Stanley Kubrick and screenplay also written by Kubrick adapted from Kings novel.

The scene that shows the elevator doors in 1:22:07, the whole screen is turned red and is filling the screen with a flooded river of blood effect crashing into the screen. The horror creates suspense that builds up and intensifies the feeling of being frightened once the horror is presented to the audience. This is interwoven into the narrative structure of The Shining as Kubrick articulates the strangeness and the notion and perception of abandonment, this is essential to showing the audience certainty in using Danny as the storyteller towards the unfamiliar terror happening with farther turned killer Jack with his supernatural abilities to predict events of evil acts towards his mother and himself.

 The overall scenes of horror that provides access to gauging with human fears, presented on the screen that are deemed monstrous acts is murder. The soundtrack played in The Shinning enables fear to be heighten by attacking the audience senses. The soundtrack communicates the whole totality of what the genre of horror aims to succeed in creating fear. The conventions of sound play integral with high priced shrieking like music inter played with high pitched screaming from the wife. The sounds of horror presented in The Shinning at the time of its release present to the audience a whirlwind of emotion that is centred on feeling fear and uncomfortable.

Week 8

Cosplay

Question- What does the terms detournement mean and how is it applicable to cosplay

Detournement is a French word meaning, rerouting, or hijacking.  The history of detournement involves situations International, a group of revolutionary artists and intellectuals in the 1950s (Geczy, & Peirson- Smith, 2018). Detournement refers to where “authoritative books, maps, and other text were cut and pasted along the polemical and aesthetic line,” (Geczy, & Peirson- Smith, 2018). This hijack was a form of rebellion as it used the playfulness of these pranks to undermine these authoritative social hierarchy’s, political and aesthetic lines (Geczy, & Peirson- Smith, 2018) by reclaiming and expressing things the original work may not have intended.

Detournement today is seen as a critical theory as reuse and imitation of the original work. Detournement, in the context of cosplay it can mean reappropriating other culture and even text, into a costume, Cosplay Involves the audience of the original text “dressing up and performing as characters from popular media texts, e.g. comics, animated or live-action films and tv, games, and other popular culture media including music videos.” (Mountfort, 2020).

Mountfort aims to highlight the new roles taken by the audience in submerging and already immersive pursuit of creating new vison created by the fans of the text, film, manga, etc, the art of cosplay forces new interpretation and meaning through their design and further representing the characteristics qualities through their portrayals of characters that are strongly popular on a nation worldwide level such as Naruto, Harry Potter and Halo all three different genres platform are affected and allowed creator to also be the viewer giving further creative consent and ability to the fans to create their own universe and storylines. As Paul Mountfort states “Fanfiction 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” (Mountfort, 2020). In doing this there is a sense of rebellion from the audience as they are removing the large authority originally held by the author often described as the death of the author (Mountfort, 2020). It is through this process that the critical theory of detournement finds itself situated in.

By the text becoming a “negotiation between the readers, you guys, us and the texts themselves,” (Mountfort, 2020) the audience is given more control of its expression they form their understanding of the text based on their own experience thus they are from a critical theory standpoint participating in detournement. Cosplay is the three-dimensional version of taking text and physically representing their understanding or interpretation of it (Mountfort, 2020).

In conclusion, detournement involves the reuse and imitation of the original text, hijacking, and placing within its new meaning as the original author’s authority is reduced allowing for a new interpretation of a text. Cosplay in all its forms involves the removal of an author’s original meaning as those who cosplay as these characters add new meaning to said characters through their experiences and understanding of the character which now resides outside of the original text. Therefore, detournement is applicable to cosplay as the very act of cosplay is the expression of detournement.

Refence list

Mountfort, P. (2018). Cosplay as Citation. In P. Mountfort, A. Peirson-Smith, & A. Geczy, Planet Cosplay. Chicago: The University of Chicago Press

Week 11

How real is reality tv show?

  “Unscripted Does Not Mean Unwritten” (Stradal, 2014). Studies into reality television focusing on the validity of its genre have revelled it represents realism by showing aspects – people, places, and situations – the real-life factors are then altered for entertainment purposes for a desired audience. Through the techniques how they are edited and resulting in the final cut, filmed in certain ways that allow the ‘director’, producer to fabricate and articulate a real event is a dramatizes lens, thus produces altered ‘reality’ of reality television  doesn’t varies to actual reality and other film genres like film documentaries must create narrative and matin the viewer’s attention through editing techniques and musical score like . The techniques presented in Nature documentaries such as splice shots from various days of shooting together, with said shots sometimes being of completely different individuals of the same species. Along with the use of selective establishing shots and music among other editing techniques, such texts can construct a dramatic narrative viewer are more likely to engage and empathise with (Nguyen, 2017).

“Reality TV places an emphasis on the representation of ordinary people and allegedly unscripted or spontaneous moments that supposedly reveal unmediated reality”.

Reality TV implements a diverse set of styles and techniques such as amateur actors/actresses, improvisation, and the use of hidden cameras, surveillance cameras and hand-held cameras to encapsulate the feeling that you are seeing the events unfold in real time (Hill, 2005).

However, all reality TV shows are curated in prototypical style and  repetitive techniques they use shown by quality of actors and actress and how it is filmed candid and aim to promote a no filter look towards the realities of life portraying certain emotions and themes. The validity and authenticity heavily rely on editors and producers to smooth out the show ready for an audience to consume.

 the most prominent techniques utilized to construct drama, especially in game shows, but not exclusive to the genre alone, is how information is edited to construct a certain narrative. How scenes within a reality show are cut together as well as the superfluous layers added such as music and sound effects can completely alter the meaning of recorded scenes. Without the need to use a script, reality television shows can manufacture drama by cutting together dialogue and interactions which occurred in a different order or completely separately, while adding specific music to elevate the desired tone of the artificial moment (Walters, 2016). This technique is present beyond genres usually considered entertainment for ‘the lowest common denominator’.

 Producers and editors will show edited cuts of the footage gained, showing only what they want to be shown or what they deem to be worthy of being shown to the public. This can raise the question of how real is reality tv.

Reference list

Stradal, R. (2014) “Unscripted Does Not Mean Unwritten.” Writers Guild of America, West. Retrieved From http://www.wga.org/organizesub.aspx?id=1096

Nguyen, H. (2017). How ‘Planet Earth II’ and Other Nature Docs Manipulate Footage to Mess with Our Emotions. Indiewire. https://www.indiewire.com/2017/04/nature-documentaries-fake-manipulated-video-1201809008/

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

Week 12

 Genre, hybridity is embedded into the film business with having romantic comedies and parody horrors. Reality television is no different and has come up with many hybrids such as docusoaps, docudramas. Overtime each genre has come further away from the rooted rigidness that once defined them. To put it in simpler words, all genres are at some level hybrid and what was once categorised has been interlaced (Wood, 2004).

Television shows typically included in the category of Reality television are- news and public affairs programmes, talk shows, entertainment, documentaries, real world events, police or emergency worker drama, and quiz shows.  ‘Smith’ mentions that this development is what we can understand as reality TV cannibalising itself to survive (Smith, 2020). Smith entails how reality television is intended to give the viewers of the reality television show a window into the lives of others, allowing for a candid reception and audience interaction aim to be highly express in awe due to the events scripted to pull on our emotions as the viewer. The advent of greater hybridity, in my opinion, has added to the fanbase of the genre as the audience are able to have a greater choice in preference. 

This means that reality tv is in a constant space of being reproduced, recreated, and reimagined. We see reality tv as an umbrella term, and associate it with the presence of ‘real people’ or ‘real life’, as opposed to the type of entertainment the show is providing Entertainment and what people are interested is constantly fluctuating, so to understand reality tv as an umbrella genre, leaves a space open for it to continue changing.

 Further eludes to zone in on the dilution of multiple genres authenticity as the demand has increased for its repetitiveness. Because people can easily change the channel or switch off the television, the ‘entertainment’ factor of reality television is a vital to its immediate success. However, the argument rises towards So, it is no wonder that new reality tv concepts are constantly being thrown at us. Wood states that despite the ongoing reformation and revisioning of reality tv, that many people view reality tv as a genre (2004). The genre of reality tv is argued to be its own genre, as the shows don’t fit into any other genre other than documentary produced format technically. In addition, reality television shows have a semi-scripted format, where situations are fabricated and the people in the show merely react to whatever situation they are presented with.

Reference list

Wood, B. (2004). A world in retreat: the reconfiguration of hybridity in 20th-century New Zealand television. Media, Culture & Society, 26(1), 45-62.

Smith, P. (2013). Heroic endeavours: flying high in New Zealand reality television. In N. Lorenzo-Dus, & P. Garces-Conejos Blitvich, Real Talk: Reality Television and Discourse Analysis in Action (pp. 140-165). Hampshire: Palgrave Macmillan.

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

As discussed in the previous lesson, Reality TV is a TV show with combined elements of documentary, free cinema, direct cinema and documentary TV. In the modern era, Reality TV is equipped with many entertainment and special effects, which is what we know as Reality TV (Smith, 2020).

Reality TV can be said to be the hybrid reality genre. As according to Wood (2004), Reality TV is a kind of hybrid programme with expression elements of fact, fiction, entertainment and advertisement. Fact; is the discourse of sobriety that represent the state of affair of the real world. Fiction; is a unique imaginary domain of creativity. Entertainment; like exhibition activities such as concert, competitions and game shows, convoy a theatrical sense of reality as performance. Advertisement; promotion of particular a product which reveals the material reality with magical inducements and satisfactions.

However, this explanation is too perfunctory, because with the evolution of the times, the expansion of the media and the continuous improvement of technology along with the economic solution. Therefore, Reality TV has also derived a diversified state via re-enactment, diversion, absorption and infomercial. Re-enactment, the use of fictitious technology to create continuity of context, is to establish reality through fictional events. Diversion is an entertainment mode that diversifies the original monotonous form into extraordinary form through diversified methods. Absorption, a reconstruction method by combining with factual reference and fictional technique to enhance the dramatic impact. The infomercial is the combination of advertising and current affairs, which narrates the story of the product by utilizing news broadcasts method along with the explanation of experts and consumers (Wood, 2004).

Reality TV can also be said to be a diversified genre, which combines many aspects of fine follow. As according to Author, Reality TV was first derived from Tabloid Journalism and popular entertainment in its early history, combined with recording method of documentary TV (Hill, 2005). If combined with the development notions of re-enactment, diversion, absorption and infomercial mentioned by wood (2004), then it is the so-called formats of infotainment, docu-soap, lifestyle and reality game show. Infotainment is a combination of information and entertainment, usually reporting a major event including “hard news”, interviews, interviews with celebrities and stories with drama, a compelling event or a trend, representing the spirit of the times, despite these The topic is often not current affairs news at all, but attracts the audience to know some new information (Hill, 2005). Docu-Soap is the combination of observational documentary and character-driven drama. To put it simply, it is to record the facts of special characters when facing various situations, such as rescue 911, cops airport is the so-called popular factual shows (Hill, 2005). Lifestyle is a leisure and fun program, is the involvement of ordinary people and their ordinary leisure interests with experts who transform the ordinary into the extraordinary (Hill, 2005). Reality game show is a kind of competition or competition show. Participants from the ordinary world participate in the competition for rewards. As for entertainment effect, the producer will request the contestants with emotional play. For example, Survivor, it has competition, adventure and emotional interaction to capture the audiences (Hill, 2005). The above programs are successful with high ratings, as the Hill(2005) said because these programs have captured the popular essence and subsequently created a hybrid type of program. More importantly, the hybrid programmes focused on telling stories about real people and real events in an entertaining style. Therefore, it captures the passionate love of the audience and stimulates the audience to follow.

From the view of the development history of Reality TV and its elements, Reality TV is a multi or diverse-reality genre, because it combines actual recording, without scripts, get real people, to participate in real events, and with diverse shooting techniques and entertainment effects. Just like the smartphone, which is a modern multi-communication device (Jackson, 2018). Before the arrival of the smartphone, it was derived from a home phone to a portable phone, and with the development of telecommunications, the portable phone was refined, like the popular Nokia and Mortola at the time. With the widespread use of mobile phones, mobile phone companies have added some functional features such as mini-games, calculation, and weather information. In the digital era of today, smartphones combine business, film and television, camera, online shopping, and other computer-like functions (Jackson, 2018). Therefore, Reality TV can still be thought as a genre and it is a genre with multi-category of reality, like smartphones, absorbed all aspects of reality, and then created a new reality we know.

Smith, P. (2020). ENGL602 Popular Genres: Reality television part one [PowerPoint slides]. Blackboard. https://blackboard.aut.ac.nz/bbcswebdav/pid-5350845-dt-content-rid-13171084_4/xid-13171084_4

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

Hill, A. (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 15 – 40). Oxon: Routledge. https://blackboard.aut.ac.nz/bbcswebdav/pid-5350878-dt-content-rid-13171279_4/institution/Papers/ENGL602/Publish/PopGen_Critical%20Reader%2012%20copy.pdf

Jackson, K. (2018). A brief history of the smartphone. Sciencenode. https://sciencenode.org/feature/How%20did%20smartphones%20evolve.php

How real is Reality TV?

Real-tv show is a kind of TV program that conforms to the actual situation. It uses real-time shooting and video recording to record the actual situation to achieve the effect of authenticity to the audience. As according to Smith(2020), there are many definitions, but generally it is the genre that represents everyday conditions, personality or individual activities, unscripted moments, human interests and the fusion with entertainment to reveal the unmediated reality. Although, reality-tv has many perspectives to focus, but the common thing is to get real people to do real things.

The development of Reality TV can be said to be a combination of the ideas of creators of the past decades. For instance, conception and inspiration of Reality TV Show mainly come from the early documentary, direct cinema, Cinéma Vérité, free cinema and documentary on television. Then with the combinations of creation of actuality from the documentary, the realism and fly on wall filming technique from direct television, the daily life activitism from the free cinema, and the meticulously produced documentary television, which is what is called Reality TV today (Smith, 2020)

Although Reality TV shows do not have scripts, so everyone will feel the show is real compare to films or dramas. However, Reality TV shows are not as real as we thought, as Fox (2018) argues in many cases, there is nothing remotely real about it, which implies Reality TV shows have many modulation methods. There are many kinds of modulation behind the scene, but the most common is the editing behind the scenes production and the arrangement of contestants.

First, the contestants are often asked for emotional experiences such as enthusiasm and sadness to achieve the effect of the show. Second, the ending is not in line with reality, which means that many Reality TV shows choose an ending that meets the audience’s expectations or preferences. Third, enthusiasm from live audiences is required, for example, when the winner walks out of the stage, the cheering volume of the audiences must reach the satisfaction of the producer. Fourth, the interaction between the participants is also arranged, including dialogue content, friendliness and conflicts. Fifth, lying About personal marital status is acceptable, the producer of the show helped them customize their own story, which is completely fictional to make the story and character more interesting. Sixth, the contestants have received expression training before the shooting of the show, such as anger, fear and frustrations when under certain difficult conditions (Gavilanes, 2018).

Other than common techniques behind the scene, the most prominent is the Shooting Script, which is a shooting procedure that describes the details of the entire show, for example; the photographer will follow the instructions of the producer to move the direction and location to be shot. Usually, before the shooting, the producer will likely to make some arrangements by pairing specific people as roommates and partners and then create conflicts in between (Metz, 2019).  Furthermore, in extreme cases, a shooting script might include a storyboard which is a visual representation of words or texts that physically illustrates what will occur in a scene (Author). In other words, the show has already told the audiences what will happen next.

In addition, “frankenbiting” is an editing instrument of the production unit behind the scene. Producers have a lot of control over what happens in the show, and they only unite people under certain circumstances. And the producer behind the scenes can choose which recorded clips to broadcast and which clips are not. With the frankenbiting device, the producer can essentially build alliances, secret crushes, battles and relationships, even some of the shots taken several days apart may appear as one scene or situation (Metz, 2019).

Lastly, from an ordinary person to an actor, although the contestants of the Reality TV shows are all from the real world or non-actors. However, it is quickly apparent that some of the contestants would become like actors and with more screen times if they successfully passed through the competitions of initial seasons. For example, the shows like; “Survivor”, “The Bachelor and “Idol shows”, participants have the opportunity to get more treatment like actors or singers, and gradually change from an ordinary person to an actor to participate in more performances such as spokespersons, advertisement and other activities (Gater & MacDonald, 2015). Nevertheless, as long as entertaining, no one will complain, the audience will come back and the ratings continue to increase.

In general, Reality TV Shows are not so real, because the production unit utilised many arrangements and editing techniques. The only real thing is contestants are real people from the real world.

Smith, P. (2020). ENGL602 Popular Genres: Reality television part one [PowerPoint slides]. Blackboard. https://blackboard.aut.ac.nz/bbcswebdav/pid-5350845-dt-content-rid-13171084_4/xid-13171084_4

Fox, M. (2018). Reality TV: Is it for real. UC Magazine. https://magazine.uc.edu/issues/1210/reality-tv.html

Gavilanes, G. (2018). They Beg You for Sob Stories: 10 People Reveal What Actually Goes Into Filming a Reality TV Show. People. https://people.com/tv/judge-judy-sheindlin-new-court-show-headed-to-imdb-tv/

Metz, W. (2019) How Reality TV Works. Howstuffworks. https://entertainment.howstuffworks.com/reality-tv.htm

Gater, B., & MacDonald, J. B. (2015). Are actors really real in reality TV? The changing face of performativity in reality television. Fusion Journal, (7), 1-13. https://www.researchgate.net/profile/Jasmine_Macdonald2/publication/294881583_Are_Actors_Really_Real_in_Reality_TV_The_changing_face_of_performativity_in_Reality_Television/links/56c559f808aeeeffa9e5e730/Are-Actors-Really-Real-in-Reality-TV-The-changing-face-of-performativity-in-Reality-Television.pdf