Category Archives: TV Cultures

Blog Post #3 – Overall Reflections

Television to me is a reward, as my favourite thing to do when I get home is to get into bed and have thousands of choices of programs to watch at the tip of my fingers. My television habits mainly consisted of me using Netflix and watching other shows via online systems, however, as the semester has come about, I have become exposed to a multitude of genres and programs and more frequently I sit down and flick through the channels on the TV, rather then pre-selecting what I wish to view. For example, I have begun watching Mad Men. I have also exposed myself to more current affairs and morning television programs, which I would usually never allow myself to do, as I would consider them boring and irrelevant. I utilise television more than just for entertainment, however as source of information, especially when it comes to news-related programs.

This semester of popular culture studies has expanded my knowledge and thinking process when it comes to understanding television cultures. I do not view television but I understand it, analyse it, and I can’t help myself. The most obvious analysis that I undergo is the flow and scheduling concepts within prime time television. Whilst watching The Bachelor, and The Bachelorette, I had begun to notice the type of audience that advertisements were appealing to. During 6:30pm and 8:30pm, usually families are viewing broadcast television and therefore advertisements such as automobile and phone companies formed televised the ads that appealed to family values, such as Optus’ family home deal plan. Furthermore, once prime time had ended, advertisements led more to a modernistic appeal, as majority of the viewers were over the age of 16, media agencies can appeal to a more specific audience.

Now watching television, it’s almost as if the “glass has shattered” (How I Met Your Mother reference) behind all the tricks and tools that TV producers employ. Behaviours and actions seem to make more sense, for example, my sister couldn’t understand why Sam from The Bachelorette, wouldn’t eliminate the dorky contestant in which she clearly did not share a connection with. It was very obvious to me that the producers of this program had included quirky contestants such as Will purely for entertainment purposes to increase higher ratings and viewers. In response to this my sister asked me how I knew that, and to me, it was the most logical explanation, television success is rated on the response from viewers and humour and empathy of the underdog is the easiest way to draw a connection through reality TV.

My favourite genre of television would have of been comedy and supernatural teen dramas, however, I feel as though my interest in specific genres has expanded throughout this semester, especially after my group assignment. Studying Keeping up with the Kardashian’s has sparked an interest in Reality TV, more specifically competition-type shows such as The Bachelor. Usually I avoided reality TV, as I preferred to rely on screenwriters who have determined particular problems, resolutions and twists to keep myself ‘hooked’ on the show. However, with this program utilising second screens, with viewers allowed to present their opinion via the show on the television screen, it fell right into the lap of popular culture, and once viewing it on a screening in a lecture, as well as studying Reality TV, I gave in, and gave it a chance. To this date, I have not regretted it, as I really drew a relatable connection to the content, especially Sam.

Overall, television cultures has been one of my favourite subjects this semester, I have learnt a great deal, and enjoyed studying, analysing and understanding the concepts, issues and genres of television. I’m very doubtful I’ll watch television the same again.

Blog Post #2 – The Transnational Concept

The television program industry has expanded immensely, and with the transnational concept they have been able to use similar methods and still conquer the TV world with an increase of revenue with minimal effort. Transnational is considered as recreating a program and relating it to a different culture. This description of the creative act as the impulse to recreate that which has already been experienced in some way, whilst, at the same time, the desire to speak to those things through their invocation, bears renewed significance when considered in relation to the recycling and repurposing of drama formats in the context of the contemporary TV industry (Christopher Hogg, 2013). Amongst all of these, Hogg (2013) has stated that there are considered “three key genres of the format trade”, reality, factual entertainment and talent competitions with only the alteration of ‘flesh’ of the program, not the ‘skeleton’. As, utilising these formats allows other nations to adapt successfully to their own cultural influence and context.

Hogg also suggests that a successful format consists of an organised narrative, that avoids scripted entertainment however produces the “highs and lows, tensions and conflicts, twist and conventions of drama”. For example, the narrative arc for talent shows, such as ‘X-Factor’ is based on the connection of viewers, the contestant’s journey, and their involvement in the show, as popular culture creates an alliance with audiences as advocates for everyday people, against the abuse of power found among the elites (Enli, 2009). Nonetheless, each program is specified to draw a strong connection by appealing to a person’s emotions. Observing the transformation of an average person to stardom of who someone is favoured by any nation. However, the breakdown of the show into different nations creates a more intimate connection. Overall, programs such as ‘Got Talent’, ‘Big Brother, and ‘Survivor’ possess “an international format [which] is geared up to hit specific points throughout the narrative.” (Jean Chalaby, 2011). Furthermore, reality TV employs trigger moments such as unanticipated change in storylines or evictions to maintain the audience’s interaction, however, it is applicable to be redeveloped into another nation’s version of the program. That’s the idea of the international format, as the programs produce similar narratives, they rely on the contestant’s culture and behaviour to present a different reaction.

TV producers and directors are employing the television concept, transnational, more frequently now than ever, as it has skyrocketed profits with less creative direction. In 2012, the top 100 formats generated US$2.7 billion for 84 channels across 16 European territories, with Money Drop alone generating US$213million. In addition, such shows not only become returning brands for channels, but become part of their identity and help them to build their profile (Chalaby, 2015). This global success has prompted other producers to develop more content, capable of potential transnational, as during this century, programmes have been adapted into more nations than ever before, generating a higher amount of revenue for broadcasters. “A recognized entertainment format will raise a company’s profile and, as it develops international scale, will boost the company’s profit margins” (Chalaby, 2015). Since the 2000s, reality TV, more specifically, competition type shows, have become a common popular culture artefact internationally. ‘Masterchef’, ‘Who Wants to be a Millionaire?’ and ‘Wheel of Fortune’ as a few examples. They are relatable to viewers as majority are ordinary people, just like them, searching for a life-changing journey and or experience. By analysing content and making it applicable to expand across different cultures, the TV format becomes a successful transnational trading system, in which creates a strong brand, and higher profit intake, without the stress of wondering if it’ll be a success amongst viewers.

References:

  1. Chalaby, JK 2011 “The making of an entertainment revolution: How the TV format trade became a global industry”, European Journal of Communication, vol. 26, no. 4, pp. 293-309
  1. Chalaby, JK 2015 “The advent of the transnational TV format trading system: a global commodity chain analysis”, Media, Culture& Society, vol. 37, no.3, pp. 460-478
  1. Enli, G.S. 2009, ‘Mass Communication Tapping into Participatory Culture’, European Journal of Communication, vol. 24, no. 4, pp. 481-493.
  1. Hogg, C 2013, “Cracking the USA? Interpreting UK-to-US TV Drama Translations”, new Review of Film and Television Studies, vol. 11, no.2, pp. 111-132

Blog Post #1 – ‘Mad Men’ and Gender Roles

Program creator, Matthew Weiner, formed the adult fiction drama, Mad Men, in 2007. The period drama television series embodies the 1960s American culture, exposes the life of employees of the Sterling Cooper advertising agency in New York City, with the focal point being set on Don Draper, and the personal and professional people surrounded in his life. This series falls into the popular culture and television stream as the program catches the audience’s attention by sharing the intimate details of the character’s lives, public and private lifestyle choices and all, as they continue to watch to discover how their life unfolds. Although this was filmed in the 21st century, the program does an excellent job of setting the scene in the 1960s “combining imagery taken from glamorous cinema and glossy magazines with literary naturalism” (Pollen, 2015) and utilising conservative costumes for most characters as well as lighting, colour and the employment of grain to create the overall 20th century aesthetic.

However, what caught my attention the most in this series, from episode 1, was the constant degrading of women, and the many uproars of gender politics that would not be considered acceptable in today’s society. In the last 50 years, there has been a large adaptation amongst societal values and social norms in regards to gender roles, and the large dominance of men in the business world was confrontational. “The New York advertising world of the early 1960s and its suburban backdrop are etched in caricature; false self functioning dominates the scene. Men go to work, drink too much, seduce their secretaries; women stay home with their children or abandon femininity by trying to break into the male-dominated business world.” (Slochower, 2011). Majority of the female characters come across as weak and inferior, as male characters come across as strong and powerful as Mad Men displays the societal expectations amongst men and women in the 1960s era.

Women are perceived to have the goal of becoming the “homemaker”, the “housewife”, “a mother”, whereas men are the hardworking businessmen, the “breadwinner”, and the “boss”. If women do not follow the path of marriage and motherhood, they are automatically categorised as available to any man wanting to call an offer. Women are undermined for the career capabilities at Sterling Copper Advertising Agency, all the secretaries are female, and all the executives and directors are men. However, this is considered an acceptable environment upon both halves during this era. On Peggy’s first day, she was told by another woman to “evaluate where [her] strengths and weakness are”, referring to her body, as most men are not looking for a secretary but “in the middle of a waitress and a mother”.

Therefore, the women who attempt to fight free from these stereotypes are struggling to expand further than the barriers men and society have created for them. When Don Draper is introduced to a new business client, he automatically assumes that they are a man, until he is corrected that “she” is waiting in the meeting room. He also does not favour that she challenges his suggestions, in result to this he becomes aggressive, and leaves the meeting as he demands that he would never “let a woman talk to” him like that. However, although I am shocked to be viewing these situations, I can’t help but continue to watch and enjoy the show. “Mad Men is routinely prefigured in popular media discourse for articulating nostalgia for an imagined period beginning in early 1960s America, a period of widespread societal change and turbulence, but also the twilight for 1950s attitudes and behaviours prior to the Civil Rights and feminist movements.” (Glen Donnar, 2015). The complex narrative may present viewers with a range of challenges amongst the gender politics of the 1960s, however, it displays hope as some female characters fight against conforming to the idealistic standards of a woman of that time.

References:

  1. Donnar, Glen 2015, “A Less Than Nostalgic Reflection on 9/11: Mad Men’s Re-imagining of the Mediated Experience of the Kennedy Assassination”
  1. Mad Men 2007, television program, Smoke Gets in Your Eyes, AMC, America, July 19

 

  1. Pollen, A 2015 ‘Mad men, mad world: sex, politics, style and the 1960s’, Visual Studies, vol. 30, no.1, pp.114-115
  1. Slochower, J 2011, ‘Gender, Splitting and Non-Recognition in Mad Men’, The American Journal of Psychoanalysis, vol. 71, no.4, pp. 381-386.

Blog Post 2: Scheduling and flow during ‘The Bachelor’

The on-screen media industry have manipulated the timing of advertisements and television programs in accompany with flow to increase positive response form target audiences. They aim on working according to a daily schedule, having news programs being aired relating to work patterns, the morning hours are usually filled with talk shows, the evening is usually aimed at a family audience and as the night continues, television begins to develop an adult focus. The death of broadcast TV has been predicted since the mid-1990s (Van Den Bulck & Enli 2014) and as of the last century, television has been very particular about scheduling which programs to be broadcasted to attain higher attraction from its target viewers.

As a result, notions of channel identity, flow, and continuity were key factors in television production, television output, audience experiences, and television theory (Gripsrud 1998). For instance, ‘The Bachelor’ airs as majority of society have come home, and are eating dinner, this allows them to relax and enjoy themselves with light entertainment to end their day. When I sat down to watch the advertisements during this segment I had never realised the relevance of them until now. With prime time programming being placed between 8:00 and 11:00pm (Lotz 2010) broadcast television can plan, schedule and earn most the revenue from advertisements and programs being viewed during this time slot by analysing audience behaviour. Thus, the problem is to obtain the schedule of advertisements that best satisfies the advertisers’ requests and which increases the revenues and productivity associated with the TV network’s sales. (García-Villoria & Salhi 2015)

When I sat down and viewed ‘The Bachelor’ on a Thursday night, I took note of what advertisements were broadcasted and tried to relate it to the particular viewers they were aiming to target. Usually the family sits around the television at this time and therefore Optus had aimed their campaign around family orientation, with newest data plan being entitled as the “family plan”. Woolworths also based their advertisement to appeal to family values by implying that their food and products will “help us, help our kids”. However, young adults who live alone or with friends also watch these entertainment programs during this time and thus, adverts such as Maybelline and Volkswagen aimed at appealing to these viewers to keep up with modern society.

‘The Bachelor’ itself was scheduled on 7:30pm – 8:30pm, a prime spot for a high amount of viewers to be active. Programs given this time slot must undergo certain regulations to be able to be considered appropriate for the viewers at this time to avoid any controversy or discrepancy. With television having over sixty years of history, the medium has been defined by its schedule and particular patterns of use that developed in response (Lotz 2010). With prime time being so familiar to majority of viewers, broadcast television plays an important role in scheduling television programs and utilising flow with advertisements to maximise our enjoyment and experience with television.

 

References:

  1. Garcia-Villoria, A. & Salhi, S. 2015, ‘Scheduling Commerical Advertisements for Television’, International Journal of Production Research, vol. 53, no. 4, pp. 1198-1215
  1. Lotz, A 2010, ‘Beyond Prime Time Television Programming in the Post-Network Era’, 1st edn, Routledge, New York, New York
  1. Van den Bulck, H. & Enli, G.S. 2014, ‘Flow under Pressure: Television Scheduling and Continuity Techniques as Victims of Media Convergence?’ Television & New Media, vol. 15, no. 5, pp. 449-452, viewed 14 August 2015, < http://tvn.sagepub.com.ezproxy.lib.rmit.edu.au/content/15/5/449>

 

 

 

Blog post 1: On a course screening: ‘Britain’s Got Talent’

The entertainment industry will forever grow and develop according to the public’s taste and the popular culture at that time. Overall, it is the audience’s decision to decide who will stay famous and who will fade into nothing, as studies have shown that audience involvement is primarily identified in playful and uncommitted contexts of popular entertainment (Enli, 2007). However it is producers, record labels, and directors that decide to put who on the screen. It wasn’t until Simon Cowell’s SYCOtv Company conceived a program that the audience had a major decision on who would begin the journey into the entertainment industry and not just by singing.

The ‘Got Talent’ program series aired on television in 2006 and it is now renowned as one of the most popular talent shows, branching off with multiple spin offs in 58 countries such as, Thailand, America, and ours truly, Australia. The program began in Britain, where judges were seeking talent from all ages in areas of entertainment, such as dancing, singing and comedy etc. Popular culture creates an alliance with audiences as advocates for everyday people, against the abuse of power found among the elites (Enli 2009) and therefore the aim of the show is to provide viewers with ordinary people who attain extraordinary talent, with fame, such as Susan Boyle, the unemployed, matured aged woman who had no appearance for stardom but who could produce an “incredible performance” (Piers Morgan, 2009, Britain’s Got Talent judge).

By ‘Britain’s Got Talent’ utilising public voting, everyday contestants, and working mostly unscripted, this enhanced the reasoning behind the talent show being considered in the reality television genre. The reality TV within these talent programs consists of forming intimate connections between the audience and the real life contestants of the show. These talent shows are not only driven by the surprised talent sprung form ordinary and or misfortunate people but by their background story and what empowers them to try place themselves next to the elites of the entertainment industry. Therefore, by employing the contestants’ stories of individual empowerment through transformations of everyday people rising into stardom, the audience draw an emotive connection towards the show and it’s competitors. As, Mark Watson (2010) states “we are increasingly not interested in people unless we’ve seen every detail of their “story”: the dead-end job, the supportive relatives cajoling them into having a go, the triumphant first audition, the overnight success story”.

Nonetheless, the ‘Got Talent’ series alone have been running for over ten years now, and issues are arising. Talent shows never last long in the television industry once the viewers understand the concept of the program. The show averaged 9.95 million viewers in 2011, compared with the year before being 10.6 million (Rachel Barnes, 2011). With the many other competitive talent shows around the world such as ‘The X Factor’, ‘The Voice’, along side with all the spin offs of ‘Got Talent’, television are producing too many stars for society to keep up with. Therefore, stars do not tend to succeed as much, and there is a decrease in audience activity, for example Australian Idol ending in 2009. Nonetheless, television programs like these are essential in being produced as they allow viewers to watch an individual be provided the opportunity to change their lives. They provide a strong relationship between television entertainment and the public engagement.

 

References:

  1. Barnes, R 2011, ‘Britain’s Got Talent’, Brand Health Check, 11 May, p. 20, viewed 13 August 2015, <http://search.proquest.com.ezproxy.lib.rmit.edu.au/docview/869067214/fulltext/F8EE7B3176694076PQ/2?accountid=13552>
  1. Enli, G.S. 2009, ‘Mass Communication Tapping into Participatory Culture’, European Journal of Communication, vol. 24, no. 4, pp. 481-493.
  1. Watson, M 2010 ‘Britain’s Got Talent Show Overload’, Watson My Mind, 14 June, p. 61, viewed 13 August 2015, <http://search.proquest.com.ezproxy.lib.rmit.edu.au/docview/521949002?accountid=13552&OpenUrlRefId=info:xri/sid:primo>.