................................................................................................iv Acknowledgements.................................................................................... vi Table of

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(Sub)versions of Banditry: Ferréz’s Re-appropriation and Redefinition of the Marginal Identity

Introduction: how cult TV became mainstream / David Lavery -- Absolutely fabulous / Angelina I. Karpovich -- The adventures of Brisco County, Jr. / Bartley Porter and Lynnette Porter -- Alias / Henrik Ornebring -- Angel / Joyce Millman -- The avengers / Angelina I. Karpovich -- Battlestar Galactica / Ian Maull and David Lavery -- Blake's 7 / Steven Duckworth -- Buffy the vampire slayer / Milly Williamson -- The comeback / Joanne Morreale -- The daily show and The Colbert report / Sam Ford -- Dark shadows / Jonathan Malcolm Lampley -- Dexter / Michele Byers -- Doctor Who / Matt Hills -- Farscape / Jes Battis -- Firefly / J.P. Telotte -- Freaks and geeks / Jonathan Gray -- Heroes / Nikki Stafford -- The league of gentlemen / Leon Hunt -- Life on Mars / Robin Nelson -- Lost / Marc Dolan -- Miami vice / Jon Stratton -- Monty Python's flying circus / Marcia Landy -- My so-called life / Michele Byers -- Mystery science theater 3000 / Robert Holtzclaw -- The prisoner / Douglas L. Howard -- Quantum leap / Lynnette Porter -- Red dwarf / Dee Amy-Chinn -- Roswell / Stan Beeler -- The Simpsons / Jonathan Gray -- South Park / Jason Jacobs -- Stargate SG-1 / Angela Ndalianis -- The Star trek franchise / Rhonda V. Wilcox -- Supernatural / Alison Peirse -- This life / Stephen Lacey -- Torchwood / Matt Hills -- 24 / Steven Peacock -- The twilight zone / Jonathan Malcolm Lampley -- Twin peaks / David Bianculli -- Ultraviolet / Stacey Abbott -- Veronica Mars / Sue Turnbull -- Wonderfalls / Stan Beeler -- Xena : warrior princess / Carolyn Skelton -- The X-files / Mikel J. Koven.

The Essential Cult TV Reader

The police series

This article examines controversial TV series Nip/Tuck's deployment of Gothic themes and tropes to attract an audience conversant with this artistic tradition, but also to dispel criticism of its graphic depictions of cosmetic surgery, a legacy of the rise of "body trauma" television in an era of increasing body self-scrutiny.

"Miami Slice": Surgical Shockings in Nip/Tuck

Purpose – Hybrid reality television, a burgeoning subgenre spawning from the reality television genre, distinguishes itself from its parent genre through dramatizations that have been described as presenting a “quasi-reality” that is disorientating for the viewer (Caramanica, 2010). In addition to blurring the lines between fact and fiction, hybrid reality programs blur the lines between product placement and entertainment as products are seamlessly blended into the depicted lifestyles. This research explores how consumers negotiate hybrid reality television programs and how this process transpires in viewers' reactions to the consumption portrayals within the programs.

Methodology/approach – Insights were sought from qualitative in-depth interviews with avid viewers of an archetype of the hybrid reality subgenre, the MTV program The Hills.

Findings – The findings reveal varying degrees of self-reflexive consciousness, reflecting viewers' critical awareness of the rhetoric of the program, the artifices of the hybrid reality genre, and their role as an audience. Self-reflexive consciousness facilitates a critical response toward the text in which viewers recognize the artifices of the genre and thus regard the program as “real” and “not real” and simultaneously worth and worthless viewing at the same time, in a textual strategy, we refer to as ironic (dis)engagement.

Originality/value of the chapter – On the basis of this body of data, a typology of viewer responses to hybrid reality programs emerges with corresponding consumption strategies as viewers negotiate the consumption portrayals within The Hills. These findings suggest that viewers embrace product placement within the subgenre and that the program has pioneered and opened up new horizons for lifestyle branding practices within television programming.

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Realistically Fake: Self-Reflexive Consciousness, Ironic (Dis)Engagement with Hybrid Reality Television, and their Impact on Consumption

Miami Vice has attracted a great deal of attention recently, and most of that attention seems to have focused on the style of the show. Indeed, Miami Vice is arguably the most stylish show ever to have appeared on television (or, at least, on American television). But the stylishness of Miami Vice is not limited to the profusion of continental designer fashions seen in the show. From the bright colors and art deco lettering of the title, to the so-called "music video" sequences, to the locations, set design, lighting, and camera technique, Miami Vice displays an attention to style which, compared to the rest of TV, seems luxurious, extravagant. Some might even say "criminal," feeling that such an expenditure of style must, in some way, hide an attempt to defraud, to cover some bankruptcy of substance. Such a verdict presumes a law and an economy in which the circulation of signifiers that makes up style is grounded in some "real" value. A style that draws attention to itself (stylishness) breaks this law by substituting itself in the place of value. Stylishness becomes, therefore, a kind of counterfeiting; it introduces an element of fraud, a possibility of deceit, into circulation. Given this presumed fraudulence, it seems only appropriate that we discuss stylishness in terms of vice, or to be more specific, in terms of Vice in Miami. In Miami Vice, the city of Miami becomes, much like the Los Angeles offilm noir, a world where appearances are deceiving. On its surface, the city is presented as a paradise, a point which is made quite evident not only in the opening and closing credits-where the signifiers of luxury, tropicality and leisure abound-'but also in explicit statements by the characters. Yet the show also trades on Miami's reputation as a center for international drug trafficking and its position as the nation's leader in violent crime. Indeed, the majority of cases on Miami Vice involve some kind of trafficking, usually either in automatic weapons or drugs (almost always cocaine). What emerges in the Miami of Miami Vice is an image of paradise corrupted, a fallen world where the trafficking of vice tends to merge with the circulation of stylishness. Cocaine, fast cars, luxury yachts, expensive clothes, and submachine guns-all become signifiers

R. L. Rutsky

Papers

Visible Sins, Vicarious Pleasures: Style and Vice in Miami Vice