Cult TV

 What makes a cult show?

Les Revenants is a highly atypical TV program which targets a niche audience. In terms of genre, it could be described as a supernatural drama, horror, zombie, avant-garde, mystery or even paranormal romance! However, Les Revenants is completely different to other zombie shows like The Walking Dead, and paranormal romance films like Twilight. It also breaks the rules of the mystery genre, by presenting many hermeneutic codes to the audience, yet rarely answering any questions.

It is confusing and challenging, therefore it is cult show.

Clearly something so niche and potentially frustrating is only going to appeal to a small audience. Yet the small number of people who do get into this show are going to love it, and probably won't be able to stop talking about it. This makes it the very essence of a cult tv show. 

A cult audience 

A small yet dedicated audience who absolutely love the media product. If it gets cancelled, they'll try to bring it back. If someone criticises it, they will defend it. Cult shows require audience negotiation and active textual poaching, so that individuals can pick out things they really like about it.

Why do producers create cult TV shows if the only reason for a media product to exist is to make money?

• They are comparatively cheap to make
• They attract a stable, yet small audience 
• Through word of mouth, they increase respect and regard for the producer (prestige programming)
• They often have a very long shelf life, and can be sold to audiences many years later.

However cult tv shows are becoming more mainstream. This might sound a little contradictory, but young audiences have become more fragmented due to digital technologies and methods of distribution - Netflix, prime, HBO max etc. Younger audiences are also less likely to watch live television and feel dissatisfied with the broadcasting model of entertainment. Increasingly, producers have taken to narrowcasting, and giving audiences more select and specific experiences.

What is an audience?

The consumers of a media product. Audiences were previously thought to be passive, but they are now increasingly more engaged within the product and can negotiate their own range of ideological perspectives.

Hermeneutic coding in this scene

• lexis of 'four years earlier' could provide hermeneutic coding, as the audience wonder what relevance this might have.
• The fade back to Camile still sat there during the 'four years earlier' scene could provide further hermeneutic coding, as the audience gage a sense of the timeline.
• The lexis of the dialogue 'Lena's sick', creates mystery, as the audience wonder how she is ill, to the point she can no longer go on the trip. They wonder if her illness is real, if she is faking it, if she knew the bus would crash etc. These suspicions are further emphasised when Claire says, 'she doesn't seem that bad'. This positions the audience uncomfortably, as they wonder if what happened to Camile could have been prevented, and if Lena knew anything about it. 
• The audience are positioned helplessly, as despite Camile asking to not go, she goes anyway. This creates a sense of dramatic irony, as the audience know what will happen next
• The audience are positioned awkwardly, as following Camile, Claire and the father's departure, Lena instantly meets up with her boyfriend. This could make the audience feel guilty, as they are aware Lena has lied.
• The mise-en-scene of the wide, open landscape incorporates the theme of isolation, which conforms to horror conventions, as there is no-one left to help. The blankness of the setting, and the lack of props and wider colour pallet beyond white, green and blue, makes the audience confused, as they likely search for paranormal activity which could have influenced the return of the children.
• The mise-en-scene of costume on Lena is incredibly uncomfortable for the audience, as combined with the acting, the scene is heavily sexualised which is considered to be indecent.
• 'I have to get off', the audience are confused as to why.
• The audience can construct their own identities through the binary opposition between Camile and Lena's personalities. Lena is constructed as being rebellious and cool, which could appeal to a cult audience who are used to having specific interests that make them 'uncool'. The fact Lena is right for skipping the trip, despite her intentions arguably being immoral, reinforces the idea that being rebellious is beneficial, and hence this may appeal to the audience. Camile is innocent and sweet, which could provide some familiarity for the target audience.