Blog post #3 – Reflection

My television viewing practises have changed significantly over the past few years – through my childhood and early adolescence, the primary source of my viewing would be traditional television viewing, whether that be Foxtel or free – to – air T.V. This would typically take place within a communal space like the living room. However, nowadays my viewing practises lie primarily outside of the realm of traditional television. In terms of watching the actual television as opposed to online streaming services like Netflix, I rarely ever do so on my own. Any free – to air or Foxtel I watch is typically if someone in my family already has the T.V on, and it’s something like the news or ‘The Project’. Despite the primacy of Netflix and torrenting in my viewing habits, I do find myself still attached to the communal, familial viewing experience.

Silverstone argues that “patterns of media consumption – especially television viewing – are generated within these social, spatial and temporal relations” of the family and domestic spaces. (2003, p. 33)  I also engage in communal viewing of Netflix, watching shows on the streaming platform like ‘Friday Night Lights’ on a weekly basis with family. The draw of shared viewing practises still holds, especially when my tastes in television align with others.

Admittedly, over the last few months I have been watching both ‘The Bachelor’ and ‘The Bachelorette’, and while I’m definitely drawn to the melodrama, I find that the appeal is mostly due to the communal experience which comes with it’s viewing. It’s a show that I’ll likely tweet about while viewing, as I find there is a particular pull into the appeal of “hate – watching” this programme alongside others virtually. It seems that social TV and use of the second screen is what is sustaining traditional television’s prominence in a media saturated society.

Consider the following article detailing ‘The Bachelorette’ finales’ high ratings and prominence on social media.

We’re so happy for Sam and Sasha! #BacheloretteAU pic.twitter.com/MrEoeJ0wIN

— #BacheloretteAU (@BacheloretteAU) October 22, 2015

The Bachelorette Australia’s twitter page engages fans via the second screen. 

In week two of the course, scheduling and control was discussed, and how the organisation of scheduled programming dictates behaviours in domestic spaces. Lotz discusses how television as a medium “has been very much defined by its scheduele and particular patterns of use that developed in response.” (2009, p. 17) One of these patterns developed is gendered scheudeling. Traditionally, day time programming was associated with “female” programmes like soap operas. In the case of ‘The Bachelor(ette)’ I think we can see how gender scheduling has transformed to accommodate for working and studying women (and men) as these shows air on weekday evenings. However we can still recognise the how television exists as a planned structure to an extent still continuing to dictate daily life.

However, my viewing habits also distance themselves from traditional modes of scheduling and the planned flow. I watch shows which could be deemed as “complex narratives” and I find that to fully engage with these texts, it necessitates that I’m paying attention. As Sconce discusses, “US television has devoted increasing attention in the past two decades to crafting and maintaining ever more complex narrative universes… that suggests new forms of audience engagement.” (2004, p. 95) As a result, my viewing habits to watch these shows – like ‘Twin Peaks’ and ‘House of Cards’ heavily rely upon platforms like Netflix where I can watch, re – watch and pause episodes, my mode of audience engagement becoming a more intensive one.

Despite this, there are also plenty of shows which don’t necessitate this level of attention that I watch on Netflix, including sitcoms like ‘How I Met Your Mother’. I find it crucial to be able to choose when and where I can watch television especially during the semester where my time – use diary was completed. Streaming platforms and torrenting allow this kind of freedom.

In conclusion, while my viewing habits over this semester do continue to reflect some elements of the traditional experience of television, I think this experience is also modernised in a sense by my use of the second screen. Additionally, I can recognise that complex narratives requires a close reading and may result in our culture moving away from scheduled television viewing with the rise of services such as Netflix.

Time use diary – Week of 13th September – 23rd October 

References 

Adnews.com.au, (2015). Bachelorette tops ratings despite Daily Mail spoilers – AdNews. [online] Available at: http://www.adnews.com.au/news/bachelorette-tops-ratings-despite-daily-mail-spoilers [Accessed 27 Oct. 2015].

Lotz, A. (2009). Beyond prime time. 1st ed. New York: Routledge, p.17. Available from: EBL [27 October 2015]

Lynn, S. and Jan, O. (2004). Television after TV: Essays on a Medium in Transition. 1st ed. Durham: Duke University Press, p.95. Available from: Google eBooks. [26 October 2015]

Silverstone, R 2003, Television And Everyday Life, London: Routledge, eBook Collection (EBSCOhost), EBSCOhost [27 October 2015.]

Blog post #2 – Course concept 

Joss Whedon’s ‘Buffy The Vampire Slayer’ premiered on The CW in 1997, as the Internet was first being democratised to the world. The series soon gathered a cult following and fans were prone to congregating onto online forums to discuss the series’ characters, story arcs and all things related to Joss Whedon.

Brooks discusses taste as “enabl[ing] us to view ourselves as part of a continuity, a tradition. Aesthetically, economically, socially and historically, taste gives a certain predictable consistency to our lives.” (1982, p. 9)

So whom does the Buffy fandom consist of? What are their tastes? BtVS has one of the strongest cult followings in television history, however this fan experience, like many, is often wrought with difficulties. Ross discusses that in the case of ‘Buffy’ and shows within the female centric fantasy genre such as ‘Xena: Warrior Princess’, “the texts and its fans are seen as belonging to a low cultural taste group.” (2008, p. 48)

This perspective could be as a result of the “nerd” status that any show within the fantasy genre seems to garner. Additionally it may be due the fact that the show’s central protagonist, Buffy, is a teenage girl, and while she slays vampires, she also handles the trials and tribulations of adolescence. The teen drama, especially a female centric one, is typically associated with ‘lowbrow’ culture.

However, perhaps the primary reason ‘Buffy’ fans are considered to have poor taste is because of the nature of fan engagement associated with the series. Extending beyond just a casual viewing experience, BtVS fans have been known to even take on a scholarly critique of the show. In fact, there is an online archive of essays, books and journals written about the show, named ‘The Encyclopedia of Buffy Studies’ which boasts a significant compilation of sources and discussions. Those writing these texts are ‘aca – fans’ – academics and self – described fans.

Cultural norms often prescribe that viewing experiences should remain casual. Emotional attachements to media texts may be deemed excessive. As a result, active fandoms like that of BtVS often struggle to escape negative connotations of being juvenile and obsessive. In addition, fan produced works – such as fan fiction and fan art, are often deemed to be not a legitimate hobby. The works themselves are accused of both poaching from the original text, as well as generally being of a lesser quality than mainstream texts – like the original BtVS.

As Bourdieu discusses, “the most intolerable thing for those who regard themselves as the possessors of legitimate culture is the sacrilegious reuniting of tastes which taste dictates shall be separated.” (1980, p. 253) In the case of ‘Buffy’, this can relate to the production of fan works, as well as the intensive reading of the text in general, such as the work of “aca – fans”.

The depiction of fan engagement on Buffy is interesting, as although Joss Whedon has been noted for being pro – fan fiction and modes of fan engagement, the primary villains in season six of the show are “the trio” – Warren, Jonathan and Andrew, who’s characters take a dark turn as they attempt to take over Sunnydale. Gray and Sandvoss argue that the trio “narrativises Buffy fans specifically”, noting that Tom Lenk who portrayed the character Andrew was quoted as saying “we’re playing what the truly obsessive Buffy fans would be… the writers have told us that we’re basically them personified”. Gray and Sandvoss suggest that “these representations further inhibit fandom’s discursive productivity by disarticulating fans from storytelling practise and rearticulating them to compliant consumption.” (2007, p. 297)

Consider the following clip at 0:38 to 0:58. “The trio” when not being typical super villains, are often utilised for comic relief, their nerd status being the source of this. They are also often shown in the basement – a stereotypical presentation of the unsociable nerd.

With ‘Buffy The Vampire Slayer’, we can not only recognise how matters of taste may dictate what constitutes high, low and middle brow culture, but additionally how specific ways of engaging with texts are considered desireable or undesirable. In the case of ‘Buffy’, intensive, emotionally driven fan engagement may be regarded by wider society and even the show’s producers as being an undesirable, potentially distasteful, mode of engagement.

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References 

Bourdieu, P (2013). Distinction: A Social Critique of the Judgement of Taste. 1st ed. Oxon: Routledge, p.49.

Brooks, W. (1982). On being tasteless. Popular Music, 2, p.9. Available from: JStor [24 October 2015]

Gray, J., Sandvoss, C. and Harrington, L. (2007). Fandom: identities and communities in a mediated world. New York: New York University Press, pp.296 – 298. [23 October 2015]

Ross, Sharon Marie 2009 ‘Beyond the Box: Television and the Internet’, ebook, Available from: EBL: Ebook library [26 October 2015]

Slayageonline.com,. ‘Encyclopedia Of Buffy Studies’. N.p., 2015. Web. [27 October 2015]

Blog post #1 Course Screening

From the outset, ‘Gogglebox’ may not seem like a viable idea for a television show. Why would anyone want to watch other people watch T.V? Especially when you consider that we’re living in an age where fewer and fewer people are regularly watching free – to – air television, how does ‘Gogglebox’ assert its relevance?

Nevertheless, audiences seem to be drawn toward depictions of the “real”, even when lines between what is reality and what is produced are blurred. Hetsroni discusses one of the primary appeals of reality television as being the participants relatability to the audience – viewers are likely to consider that they are similar to the cast, and conclude that they, too could potentially be in a similar scenario. However, Hetrsoni also notes that participants in reality shows are typically “chosen for their quirkiness or peculiar personality.” (2010, p.9)

On Gogglebox, we are to assume that the comments and responses the cast provide are completely candid and somewhat reflective of the typical viewing experience. Each participants seems to boast their own degree of charisma, often making quips about the melodrama of shows like ‘The Bachelor’. Humour lays its foundations as the centre of the show and increases the likability of the cast. The moments from season two deemed as highlights all essentially all comedic moments.

http://tenplay.com.au/channel-ten/gogglebox

Though the Gogglebox cast are not exactly reality stars in the realm of ‘The Kardashians’ the show still promotes the viewers’ attachment and engagement with the cast. During the first episode of season two, a voice narration detailed what each cast member was up to in their life. Adam and Symon, who dominate air time, have even gathered a significant following on social media. In the U.K where ‘Gogglebox’ originated, the engagement news of its cast makes even makes the news. 

Gogglebox Australia airs on channel ten, however the cast do not view exclusively channel town content, but a range of programs for all free – to – air networks. While this could be considered as advertisement for rival networks, the show predominantly serves as an advertisement for free to – air programming as a whole, and an endorsement of traditional, linear, communal television viewing.

Gogglebox achieves this firstly through the inclusion of varying demographics – the series’ cast ranges from nuclear families to a same sex couple; twenty – something single students to ethnic minority families. It is likely that viewers will seem themselves or their families reflected on the show. The series also incorporates the aforementioned use of humour to provide a depiction of a positive, fun television viewing experience.

The programme also promotes the experience of watching traditional television as communal not only in terms of family or friends, but in regard to the broader community of Australia. Anderson theorised the notion of the “imagined community”, the idea that “the nation is always conceived as a deep, horiztonal comradeship.” (1991, p. 6) Though Anderson noted print as being crucial to the idea of the imagined community, this can also be applied to the modern day. In attempting to conclude whether or not we would soon see the death of television, Katz noted one of the central values promoted by television was social integration and the prominence of the nation and the family. (2009)

On ‘Gogglebox’, participants in the show watch and commentate upon the shows aired during the past week. In order for viewers of ‘Gogglebox’ to be fully immersed in the show, it requires that they have some prior knowledge of the programmes being discusses in the episode. As viewers await the cast’s responses to whatever show is being aired, they do so with prior knowledge of the episode being watching. As a result, the cast seem like friends that we’re swapping notes with, effectively reviewing television in an indirect, mass conversation.

What we can conclude from this series with an unconventional premise is that ‘Gogglebox’ incorporates typical conventions of reality television, namely the promotion of fan favourite personalities in order to promote the practise of traditional, linear based communal television viewing. An extension of the practise of social TV, ‘Gogglebox’ brings the notion of the imagined community back to the forefront of our viewing experience.

References 

Anderson, B 1991 ‘Introduction’ in Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism, London, Verso, pp. 5 – 7

Hetsroni, A 2010 Reality Television: Merging The Global And The Local, New York: Nova Science Publishers, Inc, eBook Collections (ECSCOhost) , pp. 8 – 10 [23 October 2015]

Katz, E. (2009). The End of Television?. The ANNALS of the American Academy of Political and Social Science, 625(1), pp.6-18.

Mail Online, (2015). Gogglebox’s Chris Steed announces engagement. [online] Available at: http://www.dailymail.co.uk/tvshowbiz/article-3256830/Gogglebox-s-Chris-Steed-shows-sparkly-engagement-ring-romantic-Paris-proposal-star-Eve-Woerdenweber-confirms-marriage-plans.html [Accessed 26 Oct. 2015].