Download Cult Television by Sara Gwenllian-Jones PDF

By Sara Gwenllian-Jones

A tv sequence is tagged with the label "cult" by way of the media, advertisers, and community executives while it truly is thought of edgy or offbeat, whilst it appeals to nostalgia, or while it truly is thought of emblematic of a specific culture. by way of those standards, nearly any sequence might be defined as cult. but sure courses exert an uncanny strength over their fanatics, encouraging them to immerse themselves inside a fictional global.
In Cult tv top students learn such exhibits because the X-Files; The Avengers; health professional Who, Babylon 5; superstar 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 greater scope of pop culture.

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Olivier Donnat, in Les français face à la culture: De l’exclusion à l’éclectisme (Paris: La Découverte, 1994), 237, notes with regard to music that “the music boom . . ” With the exception of that fi nal point—the intervention of public politics—this analysis is largely transposable to the world of the small screen. It is also notable that in France, promoters of cult culture on the small screen have found it possible to associate with the valorization of rock culture, following the example of Jean- Pierre Dionnet, former presenter of Enfants du rock and currently presenter of Cinéma de quartier on the TV channel Canal Plus.

32 This involves making “low culture” sufficiently distinctive to put in place the elements of a structural opposition between certain categories of audience. But unlike those “enlightened” individuals whose degree of familiarity with mainstream culture authorizes the wisest knowledge and recognition of legitimate texts, devotees of cult texts practice a form of false cultural allodoxy. This consists not of mistaking “operetta for great music,” to borrow a phrase from Pierre Bourdieu, 33 but of fi nding interest and value in the material that critics and “good” taste have left by the wayside: defects become qualities, kitsch becomes a stylistic effect, and stereotypes become a maker’s mark.

Both deputy editor Dave Golder and myself have done proposals for it (or something very much like it) in the past, had them rejected, waited a few more years, then suggested them again. They list their professional credentials to assure the reader of the operation’s professionalism and establish their fannish commitments and competences: Now the people. Well, there’s me, the editor—Matt Bielby. net, and before that I was behind the launches of computer game mags like Amiga Power, Super Play and PC Gamer.

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