Level: (Low) 3
Mark: 26
Grade: C
WWW: Some sort of sustained argument, relevant quotes and some decent ccontextual references
EBI: I could have used a wider range of sources and quotes and I could make the references to my primary text more explict
Wednesday 6 February 2013
Essay
The Only Way is Reality: Is the popularity of “Dramality” television indicative to the ‘dumbing down’ of audiences?
“The popularity of reality TV has led to a dangerous blurring of boundaries between fact and fiction… as a result reality TV has had a negative effect on modern society”.[1] Reality television has quickly arisen to be one of the most popular television genres over the last decade. However, since “The Only Way is Essex” began in October 2010; its audience has peaked to a figure of 1.5 million and ignited a conveyer belt of other similar programmes – such as “Made in Chelsea”, “Geordie Shore” and “The Valleys” - which fall into a new mainstream category of ‘dramality’ or structured-reality television. ‘Dramality’ is a hybrid of drama and reality TV genres; with no speech or reactions scripted, but scenarios mediated by the producers to create more of a narrative and spectacle to primarily entertain its audience. Although this genre is detested by a significant proportion of society; we must question why it is so popular. It could be described as notoriously addictive; with audiences being considered “peeping Toms” or striving to replicate the superficial lifestyles the ‘characters’ lead – surely, with much more substantial and serious issues surrounding our lives – such as world poverty and the dwindling economic prosperity – why are consumed by watching frivolous conflicts and relationships from narcissistic individuals to pass the time, consequently ‘dumbing down’ its audience?
One of the earliest forms of reality TV began in 1948 with Allen Funt’s “Candid Camera” in America which the UK later adopted in 1960. Its premise was a basic hidden camera prank show which confronted unbeknownst members of the public with unusual scenarios in order to capture their genuine reactions. There have been various other reality shows since then but none exploded in popularity until “Big Brother” hit the screens in 2000. It could be said that this millennium mile-stone spurred a revitalisation in the reality TV genre. Unlike the generic elements of the genre; “Big Brother” was marketed as a social experiment game show which enticed an audience interested in the physiological aspect as well as voyeurs. However, over the years, the exhausted concept has developed as a platform for fame-hungry individuals to get their “fifteen minutes of fame”. It has now turned into a spectacle of eccentric and melodramatic characters living in house with producers concocting more extreme and unusual scenarios and tasks in order to get more of a reaction. From this, it is evident that the television show itself has ‘dumbed down’. Additionally, the popularity from the US hit TV show; “The Hills” – which started in 2006 – provided a mould for structured-reality to become a mainstream genre. The simple concept of following the lives of young, aspirational people living in Los Angeles gave audiences an insight into this remote and idealistic lifestyle. This basic ‘winning formula’ may have been the inspiration the UK’s answer to “The Hills” – “The Only Way is Essex” (“TOWIE”) which began in 2010.
The inauthenticity of structured reality television suggests the superficial nature of its audiences and may further ‘dumb down’ its audience with its lack of worthwhile content. The popularity of this genre of television may be down to the way its created – with audiences following the real lives of the characters which have however been edited together to form a more compelling narrative. “Viewers see less than an hours’ worth of footage.”[2] This therefore infers that structured reality television has to be edited down to a large extent to make sure it includes the best footage in order to convey the story line. “The highly contrived result is filtered, packaged and marketed as reality”[3] which suggests that it’s not reality at all as it has been manipulated so much. Although the footage is supposed to be reality, the reality is moulded by producers therefore impacting the truth of the programme. This may then lead to us questioning our societal values and morals due to the “blurring of boundaries between real life and entertainment.”[4] Producers of ‘The Only Way is Essex’ using the ups and downs of Lydia Rose Bright and James ‘Arg’ Argent to their advantage in order to create a narrative may be considered as exploitation. In everyday life; this would be a difficult situation to live in, and down to programmes like ‘TOWIE’, the audiences see it no different from a soap and continue to watch someone in reality going through a tough time for their own entertainment. Consequently, this suggests that it’s ‘dumbing us down’ as we superficially watch this to serve our needs and dismiss the physiological effects this would have on the protagonist of the situation. This may be reiterated by the fact that “reality TV loses the authenticity… and develops towards spectacle and performance.” [5]This highlights how we don’t care about the meaning of the specific situation and that it’s the drama which entices us.
In addition to this, the producers need specific situations and scenarios to film. “Performances in scenes that have been planned by professional storyline producers are very likely to include moments of inauthenticity from at least some of the characters”[6] thus telling us that it isn’t an issue that audiences may see it as ‘fake’. This may raise the issue that we as viewers are not satisfied with the reality of our own lives; suggesting that we are a trivial society. Another interpretation is that it relates to our own lives which may be deemed a negative interpretation. By the fact the viewers can relate to their ‘socialite’ and frivolous lifestyles, this is suggesting that the audiences are un-aspirational to have a stable, respectable job and therefore can only relate to the meaningless aspects of the lives they see on television. Another issue that’s raised is from the institution; Tony Wood – creative director of Lime Pictures, the creators of ‘TOWIE’ said that “the question of authenticity was intended to be part of the pleasure for viewers in the series”. [7]A reading of this quote implies that the institution may see the audience as unintelligent and therefore they are able to exploit this by leaving them guessing to further entertain them. Furthermore, “the more people perform in front of a camera, the less ‘real’ the programme is”[8] which connotes that this paradox about how real reality is infers the audience is impressionable and passive by not questioning the issues about the authenticity of the programme – we know it’s not a hundred per cent authentic, so why do we continue to condone this and value it as worthwhile television.
The popularity of reality television has introduced a new type of celebrity who are more often than not seen as negative role models for its audience. “The TOWIE generation is exposed to such a narrow field of women in the public eye that they are harming their futures”[9] which infers that the exposition of the materialistic and narcissistic females from TOWIE create some sort of a role model for young girls to follow and in turn supress valued aspirations that they may have initially had – such as becoming a doctor, lawyer, etc. This also suggests that the younger generation are becoming more closed-minded as a result and don’t aspire beyond a superficial dream and becoming wealthy. Furthermore, it could be said that “participants in the show have been coerced into making a fool of themselves” [10]which links back into the reality of structured reality as it implies that these people have been persuaded by producers to portray a certain character role in order to make the narrative more interesting and due to the fact that “reality and constructed factual programming has… been hugely influential”, [11]this shows that audiences can be easily influenced. This also shows how the institution may be misleading audiences as they believe the characters are like this, when in reality their personalities are not as extreme. Therefore, audiences may be aspiring to be a certain type of person that doesn’t really exist which may infer that they are easily led and impressionable. This is reinforced as “lives of celebrities are hugely influential on girl’s behaviour and that for some programmes such as Geordie Shore and The Only Way is Essex are a blueprint of how their lives should look”. [12]Ultimately, the “role model deficit” [13]has caused the ‘dumbing down’ of audiences as it firstly infers that they are impressionable and secondly suggests that the role models from “dramaility” television will influence people to aspire to them and therefore, society and its audience will mirror the “fake” reality the shows portray.
Furthermore, the popularity of structured reality television suggests the ‘dumbing down’ of audiences as it infers the trivial and artificial elements of the programme satisfy its audience. With the authenticity debate of this genre on-going, the audience acknowledge that the footage has been highly edited which creates a continuing narrative. This gives “viewers chance to compare and contrast their own lives with those of the shows “protagonist”[14] suggesting audiences watch this for “personal identity through performance”[15], integration and social identity – Uses and Gratifications. Moreover, the on-going story line creates a narrative hook which leaves the audience wanting to find out more - “Many popular factual formats also contain other storytelling techniques, such as strong characterisation, and/or serial narratives in order to attract repeat viewers”[16] which infers that this technique is used by many other shows of this genre as it has become a convention. Additionally, a short montage of clips happening in the next episode of shows such as ‘Made in Chelsea’ and ‘Geordie Shore’ creates an enigmatic cliff hanger which entices the audience into tuning in to the next episode. Structured reality may also fulfil our needs – linking to Maslow’s hierarchy of needs such as; belonging, esteem and self-actualisation. Nonetheless, these needs may have superficial underlying elements and rather than helping us integrate with society, it may fulfil the needs of “peeping Toms” who are interested and encouraged – by shows like ‘TOWIE’ and ‘Made in Chelsea’ – to look into the cast’s lives and make judgements and be entertained by ‘gossip’ from these shows as if it were from actual people – such as their neighbours or peers. This may also suggest that audiences are voyeurs “or [have] peeping Tom syndrome [that] links with the other two topics of harm and ‘dumbing down’ as voyeurism implies watching reality TV is a form of socially deviant behaviour”[17]. Structured reality also parades “the less pleasant side of contemporary life as voyeuristic spectacle”[18] which also suggests that this genre of television portrays the low-brow aspects of life and that audiences exploit this and deem it as entertainment. Furthermore, a key purpose of “dramality” television is for audience escapism as it “provides a cultural space where contemporary anxieties are played out within a dramatic structure and in an entertaining format”[19]. This allows audiences to think about someone else’s problems other that their own and become preoccupied with the humorous and light-heartedness aspects of the show.
Additionally, structured reality television has increased in popularity over the past few years. This may primarily be down to the fact that they are much cheaper to make than conventional dramas, this is also particularly effective due to the wavering economic climate – with institutions trying to keep costs down – “reality programming provides a cheaper alternative to drama”[20] After the successes of ‘TOWIE’ and ‘Made in Chelsea’. Their creators recently held auditions for a show with a very similar concept to be based in Coventry. This shows that institutions have aimed to use this successful formula to replicate the success and possibly have another show to fill up the TV schedule with more trivial but more cost-effective television shows. “reality programming is so popular it has changed the economics of the television industry”[21].
On the other hand, a further reading of structured reality – especially ‘The Only Way is Essex’- it could be said that reality television gives audiences a motive to aspire towards. The stereotypical term of the “Essex man and women” became popularised in the 1900’s – conveying a negative stereotype of the superficial, loud-mouthed and cocky working class; thus influencing the producers to fulfil this stereotype – by casting people such as Mark Wright and Amy Childs who reiterate this - and reinforce Propps character types theory. However, beyond this superficial stereotype, the term was coined help explain the electoral success of Margret Thatcher primary via “median voters” and a representation of the working class. This further reading of the stereotype – and possibly derogatory term - may suggest that Essex is the epitome of an active democratic society for the working class and highlights an underlying positive interpretation which delves below the superficial façade and bravado. In addition to this, Essex is one of the most affluent areas in Southern England – with Brentwood being the 19th richest town in the UK – and consisting of a large middle class. A similar thing could be said with the setting of Chelsea in ‘Made in Chelsea’ with it being synonymous with wealth and aristocracy. The common theme of wealth in these programmes may link to popularity of them. The excessive and attractive lifestyles may inspire viewers to attempt to identify with them, this may then go against the notion that structured reality sets a bad example as people may be imitating and aiming to aspire to gain wealth and live a similar lifestyle. This therefore shows that structured reality may be creating an aspirational culture which may absolve certain people from a lower social status and re-create the notion of ‘rags to ritches’.
To conclude, although we may dismiss other readings of “dramality” television – primarily being that it may make us an aspirational society – this is over shadowed by the fact that ultimately is indicative of “dumbing down” its audiences. A primary reason for this is due to the superficial nature and origins of the programme, which suggests that audiences are fulfilled and satisfied by the triviality of it and thus causes it to be increasingly popular. This argument is reinforced by that fact that is produces a lack of positive role models, is a passive and purposeless genre of television and the fact that it’s highly addictive steers people away from watching educational or more worthwhile programmes. Therefore, it is to a large extent that structured reality television is indicative of the ‘dumbing down’ of its audiences. Nonetheless, this genre will continue to grow and may suggest that the “dramality” genre is the only way for television to head.
Joanne Morreale. (2005). Reality TV, CLCWeb Volume 7 Issue 2 Article 5. Faking It, and the Transformation of Personal Identity. Volume 7, June, pp 2-7.
Larkin E. n.d. Dramality is more boring than reality.[Internet]. The Beaver. Available from: http://thebeaveronline.co.uk/2012/03/11/dramality-is-more-boring-than-reality/ [Accessed 11 December 2012].
Raeside J. (2011). A Different Kind of Reality TV. [Internet]. The Guardian. Available from: http://www.guardian.co.uk/tv-and-radio/2011/jun/01/reality-tv-only-way-essex [Accessed 11 December 2012].
(2011). Bafta Introduces New ‘Constructed Reality’ Award. [Internet]. BBC News Entertainment & Arts. Available from: http://www.bbc.co.uk/news/entertainment-arts-15652404 [Accessed 11 December 2012]
McGuinness R. (2012). TOWIE, Geordie Shore and Desperate Scousewives Create ‘Role Model Deficit’ for Girls. [Internet]. Metro. Available from: http://metro.co.uk/2012/05/11/the-only-way-is-essex-geordie-shore-and-desperate-scousewives-creating-role-model-deficit-for-girls-say-girl-guides-422131/ [Accessed 11 December 2012]
Howard A. Reality Televsion: Creating a World Where No One is Real, Shocking Statstics. [Internet]. Available from: http://anhoward.wordpress.com/the-effect-reality-tv-is-having-on-us-shocking-statistics/ [Accessed 11 December 2012]
Hill A. (2005). Reality Tv: Audiences and popular factual television. Psychology Press.
Bernadett Casy, Neil Casey, Ben Calvert, Liam French (ur.) in Justin Lewis: Television studies: the key concepts Routledge, London (2002)
BIGNELL J. (2013). An Introduction to Television Studies, 3rd Edition. London : Routledge, 2013
Evans, J. Hesmondhalgh, D. (ed.) (2005). The Open University, Maidenhead.
Word count: 2528 (With quotes)
[1] A HILL: 2005, pg 7
[3] ibid
[4] ibid
[5] J BIGNELL, 3rd Edition 2013, pg 137
[6] ibid, pg 139
[7] ibid, pg 139
[8] A HILL, 2005, pg 176
[10] A HILL, 2005, pg 70
[15] ibid
[16] A HILL, 2005, pg 52
[17] ibid, pg 84
[18] B Casey, N Casey, B Calvert, L French and J Lewis: 2002, pg 197
[19] ibid
[20] A HILL, 2005, pg 6
[21] A HILL, 2005, pg 6
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