Task 6 | Essay

The Only Way is Reality: Is the popularity of “Dramality” television leading 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”. 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?

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. 

Task 5 | Essay Plan

Task 3 | Historical Textual Analysis

CANDID CAMERA

-          NERVOUS LEARNER DRIVER

Originally an American hidden camera/practical joke reality television series created and produced by Allen Funt. It was a series of theatrical film shorts. Funt's concept came to television on August 10, 1948. The show involved concealing cameras filming ordinary people being confronted with unusual situations. A British version of Candid Camera began in 1960 and ran for seven years.

It is similar to my main text – ‘The Only Way is Essex’ - as it films a scenario which is created and mediated by producers and has at least one person who conveys their natural reaction to the certain situation. The camera action is also quite similar as it is mainly static to film the situation at the time – like TOWIE, the scenes are quite stationary and based in one setting, this creates a sense of reality as there is no fast paced action – like there would be in, say, the action genre. The type of shots used are similar as a wide/long shot is use to establish the scene/setting and the camera is zoomed onto the person speaking or reacting a certain way to make it clear who or what to focus on. Furthermore, it is shot like a scene; potentially being part of a wider sequence – however it is not as it’s just a single scene which is unlike TOWIE as it uses different scene as part of a sequence to create a narrative. ‘Candid Camera’ does not have a narrative as it a programme of a collection of pranks on the unbeknownst public. Additionally, I assume the victims of the pranks are selected by the producers with their entertainment value in mind. As the man in the clip above seems quite serious and professional, his reaction would be more entertaining than someone who is was immature or un-serious. This is a similar element to TOWIE as the ‘characters’ are selected based on their personalities to create more spectacle and narrative (Propps Character Types).

A major difference is the genre, as ‘Candid Camera’ was a hidden camera prank show it does not have a narrative, the show’s purpose is to entertain the audience through the reactions of the victims of the pranks. Nonetheless, it’s still a form of reality TV as it’s recording a scenario which has natural reactions to a certain situation which are borne out of created scenario – like TOWIE.

Bibliography

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.

Textual Analysis | The Only Way is Essex

Before the characters begin speaking; a subtitle to show the person’s name shows up. This allows the audience to identify with the person and in turn will allow the audience to get to know them. There are multiple cameras used to get different shots - a wide shot to establish the people and the setting of the scene; and two cameras facing the people talking to highlight that its them speaking. Furthermore, these cameras zoom into the persons face more to show a certain reaction such as her sadness. Additionally, the face that this shot is prolonged on her face emphasises her sadness and makes the audience feel more sympathy for her. Lastly, the scenes look staged which reinforces the genre of structured reality. Firstly, they’re positioned at a table in a way that the camera will easily see them and to get a decent shot of the character. Additionally, it is also convenient how the character Lydia comes into the scene just as the other girls are talking about her and her situation. This infers how the producers may have told them to say certain things at certain time and shows how the show is loosely scripted.






In this clip there is a wide shot which established what characters are in the shot, but also to show that they are equal in the shot and are all central to its narrative. There is a very slow and slight pan which makes the audience focus on them. Like the other clip, one of the multiple cameras shoots close ups of their faces and zooms in further when their emotions get more intense. This conveys their reactions and emotions such as anger, confusion, defensiveness and questioning. From the setting; the audience get a sense that the scene is slightly planned as they are at an event and although they aren’t getting along they have coincidentally met there. Additionally, the fact that the confrontation is at her engagement party creates more of a spectacle for the audience. Near the end of the scene at 2:30, the scene looks split. Their divided exit highlights the conflict that was in the scene. The costume in the scene is quote extravagant and dressy, this is conveying where they are – at a party. Additionally, Lucy’s large jewellery connotes wealth. The lighting of the scene is unnatural as they are outside at night but the scene is still well lit. This connotes how the scene has been manipulated for a better outcome which reinforces the genre of the show – structure reality. Lastly, the fact that right at the end, subtitles are put up to emphasise what he’s saying as it was said quite quiet. This shows how it was taken in one shot as they didn’t re-shoot it.

 

1500 Words Quotes

CLCWeb Volume 7 Issue 2 (June 2005) Article 5

Joanne Morreale,

"Reality TV, Faking It, and the Transformation of Personal Identity"

·         “personal identity through performance”

·         “the contents and performance of the show intensify the link between consumer culture”

·         “the fabrication of identity by teaching that fulfillment comes from becoming, rather than having, a commodity shape our identities”

·         “viewers see less than an hour's worth of footage. The highly contrived result is filtered, packaged and marketed as "reality."”

“the blurring of boundaries between real life and entertainment”

·         “criticism of reality television viewers as passive voyeurs, however, we find more insightful perspective  on the phenomenon in Boorstin’s (1961) conclusion that life has become stagecraft—a blending of reality and mass mediated experience that evokes life as a movie in which people play themselves (Gabler 1998).”

·         “Depicts common people engaging in and common tasks, giving viewers the chance to compare and contrast their own lives with those of the show’s “protagonist.”

·         “Grayson and Shulman’s perspective sharply contrasts postmodern views of hyper reality in which simulation is substituted for genuine experience, and perhaps even preferred (Baudrillard 1983).”

"To put it simply, we are social animals, to borrow the title of David Brooks’s 2011 book. And as long as we are still fascinated by other humans and there is a profit to be made, programmes like Made in Chelsea will exist, and people will watch them."
http://thebeaveronline.co.uk/2012/03/11/dramality-is-more-boring-than-reality/

"There are so many reality TV shows in the States and if you're going to avoid them, then you might as well avoid television,"
http://www.guardian.co.uk/tv-and-radio/2011/jun/01/reality-tv-only-way-essex

"Bafta is not "dumbing down" with its recognition of reality shows, which he said could be "genuinely intelligent and thought-provoking TV"."http://www.bbc.co.uk/news/entertainment-arts-15652404

Message from Girlguiding UK :

·         ‘Towie generation’ is exposed to such a narrow field of women in the public eye that they are harming their futures.”

·         It believes shows such as Geordie Shore and Skins are creating a ‘role model deficit’.

·         11 to 21-year-old females think there aren’t enough female role models.

·         Girlguiding UK said the lives of celebrities are ‘hugely influential’ on girls’ 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’.

·         ‘I don’t think reality TV shows are something that are inspirational for girls and young women. - Midge Coombs
http://www.metro.co.uk/news/898816-towie-geordie-shore-and-desperate-scousewives-create-role-model-deficit-for-girls#ixzz2ClsZxU6y

http://www.bbc.co.uk/news/entertainment-arts-15652404

“the award had been introduced to reflect "how television production and viewing is changing".”

“Reality and constructed factual programming has… been hugely influential”

Americans spend 1/3 of their free time watching television and of that 67% are reality shows

It costs $7 dollars to produce a 10-day reality show

Reality TV episodes have increased to 57% of all television shows that can be found on your screens

http://anhoward.wordpress.com/the-effect-reality-tv-is-having-on-us-shocking-statistics/

“is this strange blend of fact and drama the future of entertainment TV?”

http://www.guardian.co.uk/tv-and-radio/2011/jun/01/reality-tv-only-way-essex

“why is a huge audience buying into something so obviously artificial?”

“The Only Way is Essex was not the first structured reality show to hit British screens but it's certainly had the biggest impact – it has attracted a peak audience of 1.5 million.”

"There are so many reality TV shows in the States and if you're going to avoid them, then you might as well avoid television” – Little

"alienation effect". (Brecht described this as "stripping an event of its self-evident, familiar, obvious quality and creating a sense of astonishment and curiosity about [it]".)

ANETTE HILL: Reality Tv: Audiences and popular factual television 2005

“Popular series… in the UK have attracted up to and over 50% of the market share” pg 2

“One of the reasons the reality genre has been so powerful in the television market is that it appeals to younger adults in particular” pg 5

“Reality programming provides a cheap alternative to drama” pg 6

            Reality TV cost as little as £114,000 per hour / Hour long drama £875,000

“Economically attractive to local stations and networks”

“reality programming is so popular it has changed the economics of the television industry”

“The popularity of reality tv has led to a dangerous blurring of boundries between fact and fiction… as a result reality TV has had a negative effect on modern society” – Nick Clarke pg 7

“In essence, this may aswell be network crack: reality TV is fast, cheap and totally addictive… the shows are weapons of mass desctruction… causing us to be dumber, fatter and more disengaged from ourselves and society” - A critic pg 7

“Docu-soaps became the ‘motor of peaktime’ during the mid to late 1990’s” pg 27

“It’s the technique of a soap opera brought into documentaries” – Biddiscomb 1998 pg 27

“The rise of reality tv came at a time when networks were looking for a quick fix solution to economic problems within the cultural industries” pg 39

“these hybrid formats focus on telling stories about real people and real events in an entertaining style” pg 39

“reality programming is an extraordinary success story, an example of televisions ability to cannibalise itself in order to survive in a commercially uncertain media environment”

“reality programmes are part of the landscape of the evening schedule, bridging the divide between traditional factual television and traditional fictional television” pg 51

“many popular factual formats also contain other storytelling techniques, such as strong characterisation, and/or serial narratives in order to attract repeat viewers” pg 52

“At the heart if the debate about the reality of reality TV is a paradox the more entertaining a factual programme is, the less real it appears to viewers” pg 57

“the ‘Criteria of truthfulness’” – Ellis 2002 “Is associated with their belief that the more people act up in front of cameras, the less real a programme appears to be” pg 62

“audiences may be uncomfortable watching ordinary people on television  because the participants in the show have been ‘coerced into making a fool of themselves, and their presence or image on screen has been manipulated by technicians, producers and bullying presenters” pg 70

“another topic is that of ‘Voyeur Vision’. Voyeurism, or peeping Tom syndrome, links with the other two topics of harm and ‘dumbing down’ as voyeurism implies watching reality Tv is a form of socially deviant behaviour”. Pg 84

“The stigmatisation of reality TV as trash TV in the popular press impacts on viewers, who attempt to manage the impressions of other people…” pg 86

“If reality TV is mindless entertainment … and its role the dumbing down of television.” Pg 86

“One of the pleasures offered by the new reality formats is the knowledge that what is being offered for consumption in manifestly “staged reality”” – Kilborn 2003 pg 175

“The more people perform in front of camera, the less ‘real’ the programme is” pg 176

“We live in a presentational culture in which appearance is reality” – Roger Silverstone 1999 pg 176

“The success of the performance, in everyday life as on the bounded space of stage and screen, depends on the judgements and acceptance of an audience” Silverstone 1999 pg 176

“Viewers may, at one level, treat the unfolding drama as having a degree of credibility… at another level, however, they are sufficiently media literate as to be aware that everything played out before them has been contrived to meet their perceived entertainment needs”  - Kilborn 2003 pg 176

“Reality can be staged, but the staging has to be clearly marked by programme makers for audiences” pg 177

Bernadette Casey, Neil Casey, Ben Calvert, Liam French and Justin Lewis: Television Studies: The Key Concepts 2002

“Reality television is generally thought to have emerged in the late 1980’s in America and very quickly established itself within mainstream popular programming by the mid 1990’s” pg 196

“intimate revelations of the first person accounts are the driving force behind the narrative structure of these programmes” pg 196

“reality TV is the perfect form for the times in which we live, in that it provides a cultural space where contemporary anxieties are played out within a dramatic structure and in an entertaining format.” – Dovey 2000 pg 197

People have criticised “television producers for pandering to the lowest common denominator in parading the less pleasant side of contemporary life as voyeuristic spectacle” pg 197

JONATHAN BIGNELL: An Inroduction to Television Studies, 3rd Edition 2013

“reality TV loses the authenticity… and develops instead towards spectacle and performance” pg 137

Should TOWIE be described as a “documentary or drama” pg 138

“Producers who work on the programme have the task of looking for dramatic storylines that will anchor the everyday interactions between the participants” pg 138

“What is at stake… in TOWIE in the context if reality TV’s interest in character, is emotional realism. Rather than documenting and observing, or investigating people in sociological or political terms the series focusses on expression of emotion” pg 138

“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.” Pg 139

“the question of authenticity was intended to be part of the pleasure for viewers in the series” – Tony Wood (creative director of Lime Pictures) pg 139

“by mixing the ingredients from drama and documentary genres, recent factual television formats have found a prominent place in the television schedule” pg 139

Review of Sarah's Critical Investigation

I think Sarah has got a good start to her research , I can tell she has really thought about her critical investigation and has an interesting hypothesis to research.
She has a good source of academic research , but I think she needs to add more quotes.

Learner Response : Do you think you have enough evidence to prove your hypothesis?
I could find some statistics on how the amount of reality tv has increased and the proportion of people that watch it. I would also talk about the impact it's had on society such as the negative effects the sterotypes that the genre has created (for example the impact on socio-economic class).