Tag Archives: realitytv

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: 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>.