TV Show Network Analysis

Papacharissi and Mendelson (361) examine the notion of gratification among the audience watching reality television shows. They establish that apart from the one-off entertainment viewers get, they also gratify their psychological and social traits. Reality shows make use of ordinary people in doing extraordinary things such as surviving in harsh conditions, winning large sums of money, overcoming extreme fears among others. When ordinary people watch the actions of the participants, it becomes much easier for them to relate to them as their own representatives. Aslama and Pantti say that the shows resemble the political arena where the public vote in representatives to act on their behalf in the great stage of the nation (181).

Through David Letterman, Rudy and Ron’s fear as well as Edilyn’s confusion, Wallace examines television’s role in American culture especially in making pop culture. In fact, this

Jenkins argues that American popular culture will be redefined by the struggles over convergence and media. With the idea of profit in mind,

Television executive Lauren Zalaznick, gave a presentation called “The conscience of television” for TED Talk which she discussed past five decades of the highest standing shows on air. Zalaznick runs studies which go to great lengths on how the topics of television shows changed from decade to decade and how viewers changed the reason of watching based on what was happening in the world. Television’s conscious effects our emotions, challenges our values, and influences our views on the world by what we choice to watch.

In their article “Moving beyond the 'Vast Wasteland'”, Laurie Ouellette and Justin Lewis critique how public broadcasting functions in the US. Liberal reformers hold to the view that television needs protection from commercialism. The liberal reformer view contains cultural and class hierarchies. They believe that public television is for the white, college-educated middle-class viewer who has “cultural capital”(Ouellette & Lewis, 96). As a result, funding for public broadcasting has gone primarily towards high culture and intellectual programs and not sitcoms or other popular forms of television. Ouellette and Lewis disagree with this, saying that these types of high-brow programming are not the only ones worthy of public investment. Instead, they argue that popular programs that are being commercially maintained also merit public support and investment (96). Rather than reserving public broadcasting for more educational programming, the authors argue that there is a more progressive solution that can incorporate popular media forms while still veering away from commercialization.

"Reality TV is set up to make people entertaining. A good person with values and principles is not good television" a quote by Ronda Rousey a mixed martial arts artist. Many people believe or want to believe that reality tv is true, but many other people avoid it for the fact that it is obviously fake. I personally don't watch reality tv but for the sake of this essay, I watched a few episodes of many television series to see and determine what I think about them. The point of this essay is to prove how fake reality tv is and I have succeeded in accomplishing that. Most of the reality shows have the camera crew all up in people's business or "secret" cameras placed in which people don’t know about them yet keep

In an effort to expose the epistemology of television, which Postman believes has not been effectively addressed, he examines the effects of TV on several important American cultural institutions: news, religion, politics and education.  All four institutions, Postman argues, have realized that they have to go on television in order to be noticed which, in turn, requires them to learn the language of TV if they are to reach the people.  Therefore, they have joined the national conversation not on their own terms, but on TV's terms.  Postman contends that this transformation of our major institutions has trivialized what is most important about them and turned our culture into "one vast arena for show business" (80).  In the case of broadcast news, we see visually stimulating, disconnected stories about murder and mayhem along with a healthy dose of infotainment delivered by friendly and likeable anchors that remind us to "tune in tomorrow".  In the case of politics, we have discourse through distorted paid TV commercials and "debates" in which the appearance of having said something important is

Are television series becoming more popular? The very reason for choosing this topic is indicative of how important T.V. shows have become. Today, the people working on the small screen are no less famous and rich than the stars working in movies. Yes, that same old idiot box, vast wasteland, cheap babysitter has creatively matured and pinned down movies to the mat of popular culture. In spite of being similar, they are different as T.V. series go in much depth, have a lower production cost than movies and also have thought-provoking work which is intrinsically difficult to find in movies. They also provide a more satisfying emotional experience.

Do you know the guiltiest pleasure of the American public? Two simple words reveal all—reality TV. This new segment of the TV industry began with pioneering shows like MTV’s The Real World and CBS’s Survivor. Switch on primetime television nowadays, and you will become bombarded by and addicted to numerous shows all based on “real” life. There are the heartwarming tales of childbirth on TLC, melodramas of second-rate celebrities on Celebrity Mole, and a look into a completely dysfunctional family on The Osbornes. Yet, out of all these entertaining reality shows arises the newest low for popular culture, a program based on the idea of a rich man or woman in search of

Darrin Brown, Sharon Lauricella, Aziz Douai and Arshia Zaidi composed a study focusing on the uses and grats of the aforementioned genre as a means of better understanding the relationship between television and its audiences (Brown, Lauricella, Douai, Zaidi, 2000). Blumber and Katz’s theory on uses and gratifications suggest that audience’s choose to watch certain programs as it satisfies a particular need; in other words, people use a program to gratify or please themselves (Who Watches Crime Dramas and Why?, 2012). They identified four main uses and grats: entertainment and diversion, where there is an idea of escapism; surveillance and information, where people have an urge to become more knowledgeable in a particular area; personal identity, where there is a comparison between the characters and audience members; and finally, personal companionship, where audience’s become involved with characters as if they were real (Who Watches Crime Dramas and Why?, 2012). The uses and Gratification theory assumes that audiences use mass media as an outlet for satisfying certain needs and desires (Brown, et. al, 2000). According to another group of scholars, the gratification individuals get when using such media are both social and psychological in nature (Brown, et. al, 2000). In

“Right now, it’s an industry dedicated to one thing. Profit.” This quote by author, Paddy Chayefsky, perfectly sums up the motives behind the movie “Network.” From hiring soothsayers to risking a man’s mental heath for the sake of a successful television program, the characters in “Network” have truly been blinded by fame and top ratings. This satire fiercely describes just how far a television network will go to achieve such accomplishments.

The most important challenges for a new television network include advertising, settling on a target demographic, building a distribution system, and market the new brand. With the case of CW, dividing the responsibilities between the former WB and former UPN networks was also a major challenge, in addition to deciding which shows from each network would continue. Distribution is the primary concern, as it’s important for the network, especially a new one, to reach as much of the country as possible. Finding affiliate stations and distributors was crucial for the CW to start off successfully. Fortunately for them, they were able to secure many of the former UPN and WB stations and distributors and broadcast to 95% of the country,

In our society, there are many forms of mediated texts ranging from newspapers and magazines to films and television shows. Each of these media forms can be seen from different theoretical perspectives and analyzed to understand the different concepts that may influence them. Television shows are one of the most popular media texts with approximately 400 new shows airing each year (Ryan, 2016). However, it is often very unlikely for these television shows to strive as 65% are cancelled after their first season (Ocasio, 2012). This then, brings Marxist scholars into the picture as they are interested in how economic factors affect the production and distribution of media content (Mack & Ott, 2016). The Marxist theoretical perspective allows Marxist scholars to study television shows in order to understand why they were cancelled and how certain roles in the media lead to this.

This theme of consumerism is one of the strongest driving forces in the novel, which explains why the role of the television is so important. “TV’s commercial emergence coincides with the ‘golden age’ of Fordism.” (McCarthy 2) The television thrives merely on the ratings that bring about an enlarged group of commercial viewers, and the more viewers, the more money is brought in through commercials and advertising. Although many people believe that they themselves are not influenced by advertising, no one can escape the brief moments of mind-numbing product awareness being drilled into their heads.

The cultural phenomenon ‘Reality Television (TV)’ has become an increasingly popular genre of television since its paroxysm onto the airwaves in 1945. The term ‘Reality Television’ can be defined as the genre of entertainment that documents the lives of ‘ordinary’ individuals through the exhibition of allegedly unscripted real-life scenarios, despite inquisitive inquiries disclosing Reality TV to entail facets of script. The primary objective of Reality TV is purely to entertain the audience. This genre of television is appealing to viewers due to its entertainment principle/value, the audience’s competency to correlate to the characters and their situations, and the contingency it presents for escapism and voyeurism. We can capitalise the Australian appropriation of the American popular dating Reality TV show ‘The Bachelor’ as a tool to further comprehend the purpose and appeal of Reality television. The postulations of media’s obligations to society in contrast to their current actions and media as a mirror to society - the normative theory, can also be utilised as an implement to apprehend Reality TV. Through the strict analysis of ‘ The Bachelor’ and the employment of the normative theory, the purpose and appealing factor of Reality TV can be deeply examined.