Following on from the notes I posted, this conversation actually transpired while I was watching Gojira.
This is what we’re supposed to say about charity and fund-raising things right? Wrong.
This is about FANDOM. How do you get involved? Well, the first thing you can do is start a YouTube channel. Then, pick a fandom – Supernatural always works. Download some clips and REMIX THEM INTO A MASHUP.
The following Prezi is all about getting involved with music and other pre-existing content, remixing, remediating and mashing it up into new and exciting content. Adding your own pizzazz.
If only there weren’t so many legal ramifications for “getting involved”…
Television might be considered the least literary form of all but it is probably the most realistic reflection of contemporary culture and society. Fan engagement with television shows as an expression of cultural preferences and assertion of social values. I want to investigate narratological and cinematic analysis of the television show Buffy the Vampire Slayer (henceforth referred to as Buffy and not to be confused with Buffy, the character), created and written (mostly) by Joss Whedon. Academics have explored characterisation and themes at length in order to ascertain why the show is so popular. The analysis will be related to responses from the Buffyverse fandom to investigate if there is a link between how a show tells its story and the formation of fandoms in response to and support of effective story-telling. “Television techniques” is my term for the conglomeration of narrative and cinematic techniques. These techniques may be separately applied to other text types – film or prose fiction – however, they produce different effects when utilised in the construction of a television series. My essay will move through different aspects narratological theory, beginning with an overview of narratology, then discussing voice, time and diegesis with relation to ‘The Body’ (5.16). This will be followed by an analysis of the character functions in ‘Doppelgangland’ (3.16), leading to an examination of the narrative structures of ‘Hush’ (4.10). The last stage of narratological analysis will combine Mittell’s discussion of narrative complexity with traditional television script-writing plot conventions in relation to ‘Innocence’ (2.14). Each episode’s analysis will be related to fan reviews and discussions focusing on the same narratological details without the technical knowledge of narratology, incorporating aspects of audience theory with a focus on fandom. (more…)