TV guides or the Cinema and TV sections of online magazines, or gossip magazines are places where cult is defined and attributed to a particular TV show.
immense, detailed and fantastic narrative worlds. The viewer can never fully experience such a fantastic world in its entirety and much of this detail operates like a set of clues or hints to a consistent narrative world which transcend what the viewer learn about on screen.
play with its own norms and rules in order to maintain a balance between repetition and innovation. E.g. the musical episodes, the Simpson Halloween episodes.
why fantasy TV shows become more often cult than realist TV shows, because they can play diegetically with their own rules and norms without necessary breaking the frame, slipping into parody or producing overtly display markers of reflexivity.
build around one question/mystery to be solved. Cult TV shows often fails to resolve their major, driving narrative questions. Narrative closure is indefinitely deferred. Lost? X-Files?
cult TV shows and traditional Soap operas is that soap narrative constantly moves on new puzzles/problems that the cast has to solve. Cult shows instead are constructed around a main question/mystery that has to be solved but whose resolution is constantly deferred.
some soaps are often organized in 24 episodes series, with summer break. The summer break is needed in order to organize production but also to let the audience engage in speculations and talks about the future episodes. While daily soaps leave almost no time for the fan discussion to develop
by viewers and not by the industry, which connect different kind of texts: books, movies, music, etc. Intertextuality means that TV shows are just one possible entry-point into a multi textual landscape
the source material is re-stated, the author’s purpose divined to the community’s satisfaction, rules established on how the characters are and how the universe works. They might function as gatekeepers.
other hand, is all about laying hands upon the source and twisting it to the fans’ own purposes, whether that is to fix a disappointing issue (a distinct lack of sex-having between two characters, of course, is a favorite issue to fix) in the source material, or using the source material to illustrate a point, or just to have a whale of a good time
order to become cult. They often include actors/directors who have worked on shows included in fans’ “intertextual networks” (from the creator of…). Shows are based around a narrative puzzle that will never be answered, introduce ambiguous characters, etc. Of course, creators can only create the conditions for the show to become a cult. They cannot control the process.
considered “cult” or marginal are becoming how more people engage with television texts. For instance, a series such as Lost can be read as “cult” in its mode of engagement and “mainstream” in the size of its audience.
premium on audiences willing to pursue content across multiple channels as viewers access television shows on their own schedules, thanks to videocassette recorders and later digital video recorders (DVRs), digital downloads, mobile video devices, and DVD boxed sets. Such models value the spread of media texts as these engaged audiences are more likely to recommend, discuss, research, pass along, and even generate new material in response
to pay for it (especially since they could watch it free when it is originally aired); we are seeking to change the conditions under which we view it (De Kosnik 2010). PIRATE SHOWS 01 220
on the part of media industry than of moral failures on the part of media audiences. If piracy was only a matter of moral failure, than it would have been impossible to explain the commercial success of iTunes and Netflix. DEFINING PIRACY 01 220
value through their direct purchases (of downloaded legal episodes, of DVDs, of program- related merchandise) and through their role as grassroots intermediaries drawing in new audience members.
possession of a cultural artifact and we make it more detailed, more contextually responsive, more culturally nuanced, and, eventually, more valuable. We not only amplify the audience of a show, but through the generation and circulation of meaning, we contribute to constitute the intertextual network that is fundamental for the affirmation of a show as a cult.
suggests that audiences, wittingly or not, create economic value for commercial interests through generating the content around which attention gets collected and commodified and through the valuable information they shed, which can be sold to the highest bidder
that watching television is essentially unskilled labor. Yet engaging with television texts in a social context — especially in its more complex and dispersed forms — constitutes skilled labor. Fans and other active audiences develop an expertise in the content and a mastery of distribution technologies which increase their stakes in these media properties.
often profiting from this audience labor, but it’s crucial not to paint this wholly as exploitation, denying the many ways audience members benefit from their willing participation in such arrangements.
They negotiate consumption standards. Moderating product meanings, they brand and rebrand together. [. . .] Organizations of consumers can make successful demands on marketers that individual consumers cannot”
the media industries to think more deeply about their material as an ongoing and renewable generator of value (whether it be exchange, symbolic, or sentimental), rather than as merely a one-time commodity. Rather than striving to move audience interest onto the next new release in a system of planned obsolescence, this model seeks to prolong audience engagement with media texts in order to expand touchpoints with the brand
maintain the audience constantly engaged with the text. In this manner is easier to involve new adepts and create convergence of attention towards the show. In this manner it is also possible to have adept users acting as gatekeepers, facilitators.
a bridge experience in between each broadcast; yexperiences; and it also gets people to sample the show who have never seen the show before. It also generates press buzz and creates new revenue sources
albertolusoli
bernhardsvt
irocho
nbkouhou
haraduka
signer
aki_moon
wagnerbeethoven
ukky86
malarkey
holman
hatefulcrawdad
skipperchong
ufuk
csswizardry
carmenintech
scottboms
rocio
eileencodes
bkeepers
kastner
![K-8661 on Monday, from 13,30 to 14.20 [email protected] Alberto Lusoli](https://files.speakerdeck.com/presentations/5f45d7352e9046d0b93f4bcd6986be98/slide_51.jpg){kind=link}