Wednesday, October 31, 2012

Isaac Devenport FanFiction




Tintin and the Double Kate

The red carpet cascaded down the steps of The British Museum, surrounded by journalist, police officers, and gushing well-wishers hoping to catch a glimpse of the royal sweethearts. The newly married Prince and Princess had just made their way inside to attend an annual charity ball.
Inside, the royal couple, dressed to the nines, make their way ‘round the pillared hall, admiring priceless artefacts, and making small talk with politicians, film stars, and models. One of the many gentlemen in black ties glances shiftily in each direction before sliding off into a neighboring corridor.
“Everything’s in place, just as planned.” The man speaks into the phone retrieved from his tuxedo jacket.
“OK, we’re a-go.” He replied to the voice on the other end, before hanging up.
The man jumps when he turns. A lean woman, with stringy blonde hair, stands in the shadow of a marble pillar. He panics, had she heard his conversation? The blonde woman holds an unlit cigarette between her pouted lips.
“Cigarette?” She offers, motioning the box in his direction.
Her face coming into light, the man recognizes the model, and to breathes again.
“No,” he grunts back, “there’s no smoking in here.” Leaving the model, he walks back the way he came.
                                                                                               
Meanwhile a media van, one of many that night, pulls up outside the museum. The royal limousine’s route now blocked, a police officer approaches the van’s window.
“Excuse me, you can’t park here. Move along please.”
The driver sticks his head out, “Oh sorry officer, be gone in a sec.”
Satisfied, the officer walks away. Glancing back, the officer watches the man jump out the driver’s door and sprint off. “Hey! Stop!” The officer began, just before he was knocked to the ground.
The van exploded, engulfing the royal motorcade in a fireball, and blowing all those around of their feet.
Inside the museum alarms immediately sounded. Bodyguards rush to the royal couple’s side, pushing them in the direction of safety. They bolt down a side corridor, the armed guards receiving instructions from their ear pieces. The primary motorcade had been compromised, switch to protocol B.
Darting across a courtyard, the bodyguards are forced to throw themselves across the Prince and Princess, as masked assailants burst from the windows above, showering them with glass. Recovering too slowly, the bodyguards attempt to fire but are taken out first. Grabbing the Princess, the attackers make off into a waiting van, leaving the Prince and his bodyguards lying in the cobbled yard.
                                                                                                *
Tintin awoke with a long yawn, out stretching his arms. Sitting up, he glanced out the window of his London hotel, “Another wet day, ae boy?” He spoke to the white fluffy mess curled up at the foot of the bed, Snowy. Tintin pulled on a robe over his blue pyjamas and a pair of hotel provided slippers, and then made his way across the room. Opening the room door, breakfast and a newspaper was found waiting as per arranged. Tintin picked up the tray, leaving Snowy to bring in the paper, and sat down at a small table beside the window to enjoy his traditional English breakfast.
Midway through his eggs, Snowy began barking at his feet. “What is it boy?”
Snowing stood next to unrolled morning paper, nudging it towards Tintin.
“Ok, ok, I’ll have a look. Now let’s see what all your fuss is abou... OH NO!” Tintin sprung from his chair, startling Snowy. Across the front page of the paper was a large picture of the Princess, teary eyed, with a masked gunman standing over her. An accompanying headline read ‘Take-y Kate-y: Princess Kidnapped in Attack on British Museum.’
Sprawling the paper out, Tintin quickly read through all the pages. Further in were pictures, one of the burnt out shell of a limousine, another, the Princess smiling with a slender blonde woman.
“Oh, thank goodness!” Tintin exclaimed as he turned another page. A picture was printed of two identical investigators taking part in the case, Thomson and Thompson.
“If anyone can solve this case, it’s Thomson and Thompson.” He told Snowy
Putting the paper down, and continuing his breakfast, Snowy, again, began to bark.
“Quiet boy.”
But Snowy continued and starting pawing at Tintin’s leg.
“No, I’m sorry boy. We can’t help with the case. This is far too big for us. They have the royal guard, police, plus Thomson and Thompson, to deal with this.”
Snowy put his head between his front paws, sighing.
“I know you just want to help”, Tintin laid his hand on Snowy’s head, “But there will be plenty of mysteries for us to solve back home. That is if we make our flight! Gosh! Look at the time boy, and I haven’t even packed!”
On the bedside table, the telephone sprang to life. “Wonder who that could be?” Tintin asked before picking up the receiver on the second ring.
“Hello?”
“Tintin? This is Colonel Yorkshire here.”
“Oh, Colonel Yorkshire, it’s good to hear from you.”
“Thank you Tintin, but I’m terribly afraid this isn’t a social call. As I’m sure you’ve heard, the Princess was kidnapped last night, and we’re in overdrive here at the palace trying to find a lead.”
Yes, it’s terrible news. But I don’t see where I come into the picture, Colonel.”
“Well, since I’m head of Her Majesty’s Royal Guard, it’s my duty to make sure I have all the best men on the job. So I need your help investigating this outrageous act.”
“Well sir, I’m honoured that you asked. But I don’t see how I can help. They have all of Britain’s police and military searching, and well, I’m just a journalist!”
“I know Tintin, but I trust you, and… there’s something else. But  I don’t want to talk about it over the phone, so come to the palace and we’ll chat then.”
 “Well ok, Colonel, but I can’t promise I’ll be much help.”
“I’ll send a car. Thank you Tintin.”

Ten minutes later Tintin and Snowy walked out the lobby doors, and hoped into an awaiting silver saloon. In no time the car was making its way through the gilded gates of The Royal Palace, and pulling up to a small, yet grand, side door. A uniformed guard opened the saloon’s door, allowing the pair onto the palace steps. Snowy stopped just before going inside. Confused, he steered blankly as a small brown dog, nose in air, was carried past on a velvet pillow.
“Now don’t get any ideas boy.” Tintin chuckled.

The Colonel’s office was a great panelled room, with Persian carpets and tall windows overlooking the gardens. In the centre sat a large oak desk littered with various maps and blueprints.
“Ah, Tintin my man,” Colonel Yorkshire entered through double doors, “thank you for coming on such short notice.”
“No trouble at all, Colonel. Now what is it that I can help you with?”
“Well, as I’ve mentioned, the Princess has been taken…”
“Yes terrible business. Thank goodness no one has been killed.”
“But, see that’s the problem.”
“I’m sorry, I don’t think I follow, Colonel.”
“When the assailants took the Princess, they shot her bodyguards and His Highness, the Prince. But they shot them with tranquilizer darts, not bullets.”
“Why not kill the guards if you’re going to take the Princess hostage?” Tintin queried.
“Exactly! It doesn’t make sense. All evidence suggests these men are highly trained and extremely dangerous. Highly trained men don’t use sleeping darts. They kill.”
A knock came at the door, followed by an officer needing the Colonel. The Colonel excused himself, leaving Tintin to browse over evidence.
Photographs from the previous evening were pinned to a bulletin board, names from the guest list under each. In the corner were three small screens playing security footage from the museum. Tintin fast-forwarded till the screen read 10 minutes before the attack, and began to watch.
Some time passed, allowing Tintin to re-watch the scene several times over, before the Colonel re-joined him.
“Sorry about that Tintin.”
“I quite understand Colonel. I can only imagine how busy you must….There! Stop the tape!” Tintin shouted, bustling past the Colonel back to the screens.
“There! See?” Tintin pointed out a man in black tie who looked side to side, before disappearing out of the rotating camera’s range.
“Why that’s just one of the Queen’s personal attendants. They often attend royal functions.” The Colonel explained.  
“Yes, but look at the blonde woman in the black dress. She’s next to that man most of the night. Then look” Tintin points at the screen, a minute after the man walks off, the woman slips out a side door.
“30 seconds after she returns, the bomb goes off!” Tintin furthered, “and she’s holding something small in her hand, a controller?”
“Tintin, that woman is one of the world’s top models. Why would a world famous model plant a bomb and kidnap a royal? It doesn’t make sense.”
“Well, when you put it like that…” Tintin trailed off.
“Regardless Tintin, we need your help. Something is quite off about this kidnapping. So I need those I can count on.”
“Well you can count on me Colonel!”
“Ah excellent!” The Colonel gave Tintin a hearty slap on the back
“Now we’ll get copies of all this,” he motioned to the piles of evidence, “sent over to you. But for now I must say farewell, pressing matters an all.”
“Of course Colonel, and thank you.”
“Oh, and Tintin, keep this hush hush. We don’t know how many we can trust in times like these.”
“I understand. Goodbye.”

Back in the comfy silver saloon, Tintin made his way back to the hotel, still unable to throw the image of the model and the object in her hand, from his mind. “We’ve certainly got our work cut out for us this time, Snowy.”
Snowy barked in response, happy to be on the case.


End.

Tuesday, October 23, 2012

Weeks 11 & 12- Reality TV (Kirsty)


How has the documentary genre influenced reality TV and how it presents the ‘real’?


Reality television has drawn from many aspects of the three types of documentary discussed in the classes, direct cinema, cinema verite, and free cinema. In many shows we see on tv today there is interviewing of subjects, for example in Jersey Shore, American Idol, The Amazing Race, subjects are usually seated and describe aspects of what is going on in the show or in the case of American Idol and X Factor the contestants are asked questions by the presenter. Music is also used to enhance the theatricality of reality shows. The reason why they are so popular is because of the ‘real’ drama they portray, and music aids in this portrayal, whether sad, dramatic or triumphant. Cinematography is also a major aspect of documentary used in reality tv. Usually we see either a handheld camera effect of a fly on the wall effect. Both aim to enhance the reality of the situations. The handheld technique means that the audience can see the subject as though they are actually present. The fly on the wall technique gives the effect of being able to watch subject in secret while still being in the setting. Jersey Shore makes use of both aspects of cinematography where the housemates are followed outside of the house by handheld cameras, while when they are in the house cameras view them in the fly on the wall technique.
While these techniques used from the documentary genre to make reality shows appear ‘real’ the issue I have is with the content. There are a number of shows where the drama is scripted or in the case of game shows or performance shows, results can be changed at the discretion of producers etc. Can shows like Keeping Up With the Kardashians or Jersey Shore be labelled as reality television when they are only given the impression of being seemingly real to the audience? Yes there are shows that don’t do this but the issue is that the most popular of reality shows aren’t actually real, or in my opinion they aren’t :P.

Weeks 9&10- Cult TV (Kirsty)


In what way is Buffy influenced by the romantic gothic tradition? Yet how does Buffy also provide a contemporary critique of this tradition?

Gothic romance stories can be described as a romance that deals with desolate and mysterious and grotesque events (The Free Dictionary be Farlex). There is always terror and mystery which usually has something to do with the supernatural and a heroine who is forced to choose between two male characters of opposite personalities. Buffy covers all these aspects with mystery involved in each episode, right from the first. In the pilot episode Welcome to Hellmouth, a stake falls from Buffy’s bag, making the audience immediately wonder just who or what she is. She is approached by a mysterious guy who gives her snippets of information about just what might be going on in Sunnydale. The element of terror is of course provided by the presence of vampires. Though not shown in the first episode Buffy is faced with romance throughout the series with characters like Angel and Spike.
While portraying many of the traditions of gothic horror, Buffy still provides a modern take. While most traditional gothic romances are set in dark, scary places, Buffy’s setting is a seemingly innocent town, and while the series shows a number of terrifying places as settings of scenes, a more realistic perspective is provided by having it in Sunnydale. The character of Buffy herself is also a challenge to the traditions of gothic romance. While there is always a female heroine, the usual characteristics are unlike Buffy’s who is portrayed a strong (physically and mentally), no nonsense woman and she usually seems quite certain of her actions, even though they may turn out poorly.

Features of gothic romance novels. (n.d.). Retrieved October 22, from      http://www.articlesbase.com/book-reviews-articles/features-of-gothic-romance-novels-710412.html

Gothic romance.(n.d.). Retrieved October 22, 2012, from             http://www.thefreedictionary.com/Gothic+romance

Weeks 1&2- Comics and Graphic Novels (Kirsty)


How does Farr (1991) justify Tintin’s appeal to adults?

After reading the Farr (1991) extract we can definitely see how Tintin became so appealing to audiences. Seeing boy who travels the world solving mysteries and having adventures is something not a lot of young kids could look past if given the opportunity. Herge provided this in the action, and comedy of his comics. But on another level he also provided something for adults who could look past the surface of the story to find something more. He was a fanatic about every element of the story and the “extraordinarily accurate detail of [each], the result of painstaking research… was a key ingredient of the successful formulae”. An adult would appreciate these finer aspects more so than a child would. Farr states that Tintin also “has a rock solid foundation in reality, enabling him to transcend fashion, age and nationality”. Adults would be able to understand the realistic personal and political themes and also relate to them, even today.
As a child I loved Tintin. I loved the comic books my parents would by me and of all Tintin was by far my favourite. But I found as I grew older it lost its appeal to me, which may seem strange but it is true nonetheless. In the article Farr describes the appeal of Tintin to both children and adults saying “The child will be gripped by the excitement of Tintin, the comedy, even the farce. The adult will additionally find political satire ad parody, pun and prescience”. And here lies the reason why I believe it lost its appeal for me. I think that because I now see the political and social undertones, the puns, the parody the excitement that I once got from the story as a child is lost and I now as an adult find it almost boring. But then again I frequently describe myself as a child and sometimes as an escape tend to look for things in terms of reading and viewing, where I don’t have to always think so hard about what I am look at. I prefer the story and characters to the underlying themes most of the time. But in saying that it is hard to find a text that is labelled for a child to be soley for a child. There is always something that could appeal to an adult. The adult is theone who gives or allows a child to be exposed to texts so I guess there has to be something that attracts them too, which is what we see with Tintin. Farr says that ”the appeal is moreover self-generating, for in due course the parents become adults and then parents themselves, allowing the Tintin  tradition to be carried on”.

Farr, Michael. (1991). Introduction. In Tintin: the complete companion (pp.8-9). London: John    Murray.

Weeks 11 and 12: Reality TV

How does Hill define reality TV?

Hill (2005) defines reality TV as a wide range of things. He says the term describes a "range of popular factual programming". He also states that there are many styles involved with reality TV. We see this when looking at the huge differences between shows like Jersey Shore, Big Brother, and My Big Fat Gypsy Wedding.


Hill describes one of the ways that reality TV has become so diverse is the passage of time. He states that originally it was documentary style footage from police and emergency services, but that now Reality TV can essentially mean anything. This is more true now than it even was in 2005. Weddings of young gypsys, the spoilt life of rich tanned monkeys, and entire channels for food programs are overwhelmingly prevalent.

Another reason Reality TV is the way it is, Hill describes, is because of the cannibalisation and feeding frenzy of the television industry. Television producers will take what works well about one show and then merge it with another to create a new genre. This is not a rare occurrence so new styles of Reality TV are popping up all over the place.

In essence, Reality TV is a hard genre to pin down. They are often just flavour of the month shows, just to be rebirthed in a slightly different skin. The term means so much that it almost means nothing.


References:

Hill, A. (2005). The reality genre. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp 14-40). Oxon: Routledge.

Weeks 9 and 10: Cult TV

Wilcox and Lavery (2002) identify 9 defining characteristics of ‘quality TV’ – can you apply any of these to other television series that you have viewed recently? Are there any other characteristics that you could add to their list?

Wilcox and Lavery's nine defining characteristics of quality TV certainly have relevance to many TV shows in the past ten years. Programs like The Sopranos, The Wire, and Breaking Bad are all excellent examples of quality TV; each of them display many of the nine characteristics.

For this exercise I will mainly focus on Breaking Bad as I believe it to be one of, if not the, best television programs in recent history. 



Breaking Bad has each of the nine characteristics of quality TV on full display. 

1. Quality TV has a quality pedigree.

Vince Gilligan, the creator, director, writer, and producer, is a shining example of quality pedigree. He graduated from one of the leading school of arts in America and was awarded the Virginia Governer's Screenwriting Award for a screenplay he wrote while attending. He was also the co-executive producer for almost a quarter of all X-Files episodes.




2. Quality shows must undergo a noble struggle against profit-mongering networks and non-appreciative audiences.


Admittedly Breaking Bad does have a large budget per episode and does have incredibly appreciate audiences, however there have been struggles against profit-mongering networks too. AMC wished to make the final season of Breaking Bad 6-8 episodes instead of 13 to cut costs. Thankfully the producers nobly declined the offer.

3. Quality TV tends to have a large ensemble cast.

Breaking Bad absolutely has this. From Walt to Jesse, from Skyler to Walt Jr., from Gus to Hector, from Mike to Saul, from Todd to the kid on the bike. Point being, Breaking Bad has a rather large cast.

4. Quality TV has a memory.

Oh you best believe that Breaking Bad is all about this. The entire premise is this. Walt goes from being the protagonist to the antagonist over 5 entire series. There is no turning back and there is no forgetting anything on this show. The character arcs continue throughout the entire series, with no character ever stagnating.



5. Quality Tv shows create a new genre by mixing old ones.

Breaking Bad again is a pretty good example of this. The show is essentially a gangster story, but it is shown in such a stylistically different way that a new genre is basically created. The story of good guy turns bad has never been utilised like this before.

6. Quality TV seems to be literary and writer-based.

We can look back to Vince Gilligan for this. Vince's quality of writing is evident in every aspect of Breaking Bad. The dialogue, the action sequences, even the choice of clothing colour, is all written with intent by a highly intelligent man.

7. Quality TV is self-conscious.

Breaking Bad does this semi-frequently. The nods to jokes on the internet about Walt Jr's love for breakfast or Jesse's frequent usage of the word "Bitch!" are proof of some intertextuality. The dubstep in another recent episode is also the writers showing their knowledge of the outside world.

8. The subject matter of quality TV tends to be controversial.

Breaking Bad's themes and storylines are very controversial. From dark, depressing murders to attacks on children to extensive production of illegal drugs, Breaking Bad doesn't shy away from controversial subject matters.




9. Quality TV aspires towards realism.

Despite some of the fantastical aspects of Breaking Bad, it is all grounded in reality. The characters feel like very real people with flaws, and the empire Walt builds is not without it's realistic hiccups. Breaking Bad portrays the unbelievable made believable.


Breaking Bad is definitely one of the best TV shows in a long time, and unsurprisingly fulfills all of Wilcox and Lavery's 9 defining characteristics. I would possibly add that quality TV often has an element of the dark, without which light cannot exist, but that is just personal preference i think.



References:

Callaghan, D. (n.d.). Breaking Breaking Bad. Retrieved 23/10/12 from http://www.wga.org/content/default.aspx?id=4100

Reality game shows



 Since the late 1990’s reality game shows have been quite popular among viewers. The first reality game show was Big Brother in the Netherlands which was then sold to other TV networks around the world. Another game show that has been around since the beginning of reality game show and still going today is Survivor.

Games show can be seen to be fake or unrealistic, one example is Survivor; when the season starts it follows sixteen contestants over three days which then is cut down and edited so that these three days can fit into a one hour TV slot. Meaning that the viewers are possibly only seeing 5% of what actually happen. Usually that 5% which is watched by the viewer will be what the creator wants it to be, to create a more compelling story to keep the viewer watching. This includes portraying certain people in certain lights for example someone who complains a lot is shown as if they complain constantly. This builds up a love to hate relationship with the contestant. Hill (2005) observed that that the highest rated episodes in games shows were the ones which contestants faced emotional situations or the contestants became romantic couples.

Another problem with reality game shows are their lack of variety. Shows like Survivor change every season however the changes are minor like a change in location and new contestants however new contestants sometimes doesn’t mean new characters as Hill (2005) states contestants ‘learn how to behave from previous series’ and will copy former contestants style of play to further themselves in the game. 

Cult TV



Cult TV shows generally have an audience that are devoted in a cult like fashion. Hill (2004) explains Cult TV as having three different definitions firstly “defined through textual analysis and depends on text”. The second definition is that it is “defined through an analysis of secondary texts or inter-texts, and depends on these inter-texts” and lastly that it “can be defined through an analysis of fan practices, and depends on fan activities”. There is limited scholarly research on these three competing definitions of cult TV.

One aspect of a cult TV shows is that they often have a broad universe, meaning there are parallel dimensions from the past to present to future. For example Star Trek has time travel and parallel universes. Usually these shows will have quite a diverse range of races and species. For example in Star Trek there are Klingons and Vulcans and Buffy has werewolves, demons and vampires.

Another aspect of cult TV is that they have quite a strong relationship between the lead character and a partner of the same sex as with Captain Kirk and Spock on Star Trek. Buffy has Willow on Buffy the Vampire Slayer.

The phenomenon of cult TV is recent however shows like Star Trek have been around for generations and have developed a cult like following.

Science fiction




What is the difference in emphasis between the terms science fiction and speculative fiction?
Which is The Man in the High Castle?

Science fiction as a genre can be described as fantasy, made-up or imagined worlds for example, Star Wars. Fantasy is based more on the past, for example, the Middle Ages and magic or unexplainable events. Science fiction is based on futuristic technology, with space travel, time travel, aliens, robots or alternative worlds or history. Roberts (2000) states science fiction is ‘a genre or division of literature distinguishes its fictional worlds to one degree to another from the world in which we actually live’.

Speculative fiction is a genre of science fiction and horror cross-over focusing on the horrors that technology can potentially cause. Urbanski (2007) states ‘speculative fiction has a long tradition of depicting both the wonder and the terror of science and technology’.  Speculative fiction is a reality of sorts, for example taking an actual historical event and putting a scenario of what could have happened to make it an apocalyptic aftermath. An example of this is the movie I am Legend where a cure for cancer is developed but ends up ‘zombieising’ its patients, this plays into events of genetic engineering as a technology that alarms the general populous as well as the wonder of the advancement of this knowledge.

Philip K. Dick (1928-1982) began his career as a science fiction writer in 1951 when he sold his first story, and until his death in 1982. He wrote over 30 novels, several which were not published in his lifetime. He also received awards for several of his works such as ‘The Man in the High Castle’.

The Man in the High Castle is set in an alternative world where the Axis powers won the Second World War. The story follows several characters through a world that is unlike ours, the Chinese ‘I Ching’ is an oracle predicting the future by the way the sticks land. Juliana Frink is one of the story’s main characters she reads a book called ‘The Grasshopper Lies Heavy’ which is a novel set in an alternative world where the Allies won the war. Brown (2001) states “Juliana Frink becomes obsessed with the vision of this other, better world”.

The Man in the High Castle can be seen as both science fiction and speculative fiction. It’s hard to narrow the book down to one of the two genres as it can fix equally as well in both; as alternative world falls under science fiction however it’s a dark world, our nightmares have come true, placing it over speculative fiction.   

 

(2012, October 10). Retrieved from Wikipedia: http://en.wikipedia.org/wiki/Philip_K._Dick
Brown, E. (2001). Introduction. In Dick, P.K. The Man in the High Castle (p.V-XII).
London: Penguin.
Dick, P.K (2001; 1962). The Man in the High Castle. London: Penguin.
Roberts, A. (2000). Science Fiction . london : Routledge.
Urbanski, H. (2007). Plagues, apocalypses and bug-eyed monsters: how speculative fiction shows our nightmares. McFarland & Company.