By Sara Gwenllian-Jones
A tv sequence is tagged with the label "cult" by means of the media, advertisers, and community executives whilst it's thought of edgy or offbeat, whilst it appeals to nostalgia, or while it's thought of emblematic of a specific lifestyle. through those standards, virtually any sequence can be defined as cult. but yes courses exert an uncanny strength over their lovers, encouraging them to immerse themselves inside a fictional global.
In Cult tv best students study such indicates because the X-Files; The Avengers; physician Who, Babylon 5; famous person Trek; Xena, Warrior Princess; and Buffy the Vampire Slayer to figure out the defining features of cult tv and map the contours of this phenomenon in the higher scope of pop culture.
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Additional info for Cult Television
Fans talk at length in its pages about the special effects on display in ﬁ lms and television programs. They nonetheless privilege 33 34 MARK JANCOVICH AND NATHAN HUNT ideas, characters, and the arc story lines of television series over special effects, condemning texts that give special effects precedence over these other considerations. This is not simply because, as with Star Trek, the television series is seen as the original and the ﬁ lms as sellouts. In the case of the Robocop franchise, the ﬁ lm came ﬁ rst.
25. Umberto Eco, “Casablanca: Cult Movies and Intertextual Collage,” SubStance 47 (1984): 3–12. 26. For an internalist and externalist reading of cult texts, see Philippe Le Guern, “The Ideological Project between Representation and Metaphor: The Television Example of a ‘Cult Series,’ The Prisoner,” in Sociocriticism, Images, ed. Monique Carcaud- Macaire, 12, no. 1–2 (1997): 159–75. 27. Umberto Eco, Six Walks in the Fictional Woods (Cambridge: Harvard University Press, 1995), 127. 28. Interview with Larry “Buster” Crabbe, quoted in Stéphane Bourgoin and Pascal Mérigeau, “La série B américaine,” La revue du cinéma 380 (February 1983): 63.
250. 60. “We do not have the budgets of TF1 and France 2, but we make up for it with a commando spirit” (Nathalie Drouaire, director of acquisitions at M6). 61. ” TOWARD A CONSTRUCTIVIST APPROACH 62. On this interaction between cult phenomena and their commentators who are also in part their producers, see Philippe Teillet, “Les cultes musicaux: La contribution de l’appareil de commentaires à la construction de cultes, l’exemple de la presse rock,” in La culture du culte, ed. Le Guern. 63. , Seuils, Passages, Communication 70 (2000): 33.
Cult Television by Sara Gwenllian-Jones