Tag Archives: television

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

TV Gender Roles, the 80s vs the 00s

The American 80’s reality show, The New Newlywed Game, pits newly married couples against each other to determine who knows whom best. What was surprising about this program was that it “reward[ed] the couple who best conform[ed] to our ideological norms” (Fiske 1995). However, the audience favoured this “popular” program due to the couples that failed to live up to society’s expectations. Men were belittled and mocked when they demonstrated any form of femininity during the program, for instance, dancing around, and using hair products, whereas, women were mostly portrayed as irritating and argumentative towards their husband.

Married couples during the 80s aimed to portray themselves as the ideological couple. This included, non argumentative, having a consistent and healthy sex life, being heterosexual, and both genders fulfilling their stereotypes created by social norms. This involved the man being dominant, giving orders and making plans, whereas a woman’s behaviour would be sharing, giving, and concerned for others (Greenberg, 1980). However, in reality, I believe more couples would relate to the non-ideological couples, as although society may have created a specific relationship norm, our world is rapidly evolving and adapting and couples are rarely meeting these expectations.

Since the 80’s, social expectations of the ideal couple have evolved in a positive manner, and it is evident it today’s television. Modern entertaining programs such as How I Met Your Mother, and Modern Family, depict “normal” relationships nowadays as interracial, same sex, and argumentative. More importantly, an individual’s behaviour is not marginalised to a particular manner because of their sex. In general, gender roles have changed markedly in the last quarter century. More women have moved out of the home and into the work force; relationships between husband and wife have become more equal; and men seem more willing to share in childcare and in work around the house (Farley, 1998). I have admired modern American media as it has been successful in adapting to society’s evolved love life and has helped influence and support the change of ideological couples and gender stereotypes.

 

References cited:

Fiske, JF 1995, ‘Popular Culture’, in F Lentrichchia and T McLaughlin (eds.), Critical Terms for Literary Study. The University of Chicago Press, pp. 321-335.

Glascock, JG 2001, ‘Gender Roles on Prime-Time Network Television: Demographics and Behaviors’ Journal of Broadcasting & Electronic Media, June, vol. 45, issue 4, pp. 656-669.