Popular culture. - Notes PDF

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THE NATURE OF POPULAR CULTURE Students develop an understanding of the nature of popular culture by examining the FOUR distinguishing characteristics: C

Associated with commercial products and paraphernalia: - Demand develops and expands due to media, marketing and dissemination processes

A

Achieves widespread consumer access: - Broad access is assisted by media and communication technologies

G

Develops from a local to global level: - Experiences global acceptance with the progression and integration of technologies

E

Is constantly changing and evolving: - Experiences continuity and change - influences society while simultaneously society influences the popular culture

FOCUS STUDY Reality television (Marriage and Dating Shows) Students are to examine ONE popular culture that conforms to the distinguishing characteristics and has a global acceptance by examining: the creation and development of the popular culture origins of the popular culture

Popularity of Reality TV is closely linked to the popularisation of television technology in the USA and Europe. Candid Camera 1948 - participants stumbled into embarrassing situations rigged by producers Good-natured humour, participants dignity and privacy were protected and no one was hurt. Sexual revolution, civil rights movement, feminism and drug-use were ballmarks of the 1960s. As Americans became more sexually open and violent in their behaviour, television programs became more sexually explicit and violent as well. By the end of the 60s, openness replaced modesty and independence was more important than privacy. 1970s - viewers were used to watching footage of Vietnam war with their dinner. ‘An American Family’ filmed in 1973. Family agreed to being filmed indicating a willingness to be exposed in ways that participants of Candid Camera could not have imagined. Recognised as “mother of all reality TV shows”. 21st century - changed again where participants competed against each other for love or money. Competitiveness and materialism were the watchwords of this newest incarnation of reality TV. It reflected, in part, the increased competitiveness in American society. As reality Tv has evolved, Candid cameras harmless embarrassments were superseded by the shameless marital arguing of An American Family and ultimately the painful humiliation of those who lost survivor.

development of the pop culture from a

Often starts at a local level and then gains global acceptance through the mass media and integration of technologies. Globalisation and development in transport and communication technologies over the past century have lead to increased trade, immigration and tourism between nations. This expanded contact contract has

local to a global level

resulted in a spread of Western values and of the English language. Western values related to consumption, such as materialism and individualism, have laid the foundations for the expansion of popular culture across the globe. As demand for popular culture have grown, transnational corporations have played a significant role in distributing them across the globe. Married at First Sight. Danish reality tv show that aired for the first time outside of Holland in 2014 to more than 10 countries. Today it is aired in 180 territories with 65 different versions. (e.g. australia, germany, israel) The franchise attracts more than 500 million viewers - thus appealing to a range of cultures, persons and values. Factor to global spread - concept is easily adaptable to other countries and societies due to universal themes marriage, love and conflict.

process of commodificat ion for the popular culture

Commercialisiation = the process of adding monetary value to an idea, product, event, activiut, industry, and turning it into a business with the aim of selling it and making a profit E.g. the commercialisation of christmas, healthcare, sport. Commodification = the process of something that was not previously a product becoming a product. e.g. the Kardashians, love (profit from selling the idea of love) Commodification of Reality TV. Process of reality tv becoming a commercial business and commodity occurred much quicker, and has been increasing rapidly over time.

role of mythology in the creation and perpetuation of the pop culture

Mythology - Mythology is the study and interpretation of often sacred tales or fables of a culture, known as myths - Importantly, mythology often has recurring characters, themes and plitt points - e.g. the hero, the villain, jealousy, revenge, conflict and resolution. Hero/protagonist - An individual or group that displays positive values and actions (real people) - Positive actions and values can sometimes be seen as those that are currently reaffirming to the majority of society = socially normative behaviour - E.g. the bachelor - the main guy is a ‘prize’ to be won, they show all the positive values Anti-hero/antagonist - A person or group that displays negative social values deemed not ‘acceptable’ by the majority of mainstream society - They create viewers, the drama - the behaviour on MAFS meant record viewing Mythology and reality tv - Mythology plays a fundamental role in the creation of reality TV, as it provides many of the characters, themes and narratives that much of reality TV is based on. - E.g. the myth of ‘prince charming; and the ‘damsel in distress’ underpins the creation of a show like The Bachelor - In the Bachelor Australia 2015 Sam Wood was revered in the media as a hero for maintaining interest in, and eventually choosing to marry Snezana, a single mum. This act could be perceived as an act of bravery, rescuing the damsel in distress and perpetuating him as a hero figure.

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Mythology also plays a significant role in the ongoing consumption and perpetuation of reality tv. This is because many mythological themes, characters and narratives, as a cultural product are familiar, attractive and entertaining to persons across a range of societies and cultures. These characters have been reproduced in literature and film across time (e.g. Shakespeare) and thus familiar and appealing to many. This can in turn create an ongoing emotional connection between the consumer and the cultural product. In other words, they not only hook us in, they keep us interesting, thus perpetuating the popular culture over time.

the consumption of the popular culture: the consumers of the pop culture and the nature of its consumption

Consumption = purchasing or using a good or service. Participating and engaging with a culture. Reality tv = purchasing products, or by participating and engaging with it. How people consume reality tv can be referred to the nature of its consumption. US: reality tv has topped the ratings list of most-watched programs among 18-49 year olds for over a decade. Australia: reality tv is one of the most popular types of programming on Australian commercial free to air TV (ACMA 2007) EXAMINE THE NATURE OF REALITY TV CONSUMPTION BY LISTING DIFFERENT WAYS IN WHICH PEOPLE MIGHT CONSUME (PURCHASE, USE, INTERACT, ENGAGE WITH) REALITY TV

the relationship of heroes and mythology to media and consumption

The mythology of heroes in reality tv and consumption. - Heroes are important to the development of a pot line and in keeping audiences interested. - Heroes are particularly appealing to audiences because they serve as role models for fans, possessing desirable characteristics such as ambition and the ability to rise above adversity - Heroes are present in reality tv shows in different ways, often embodying a range of characteristics and values specific to that show. - Their presence in a narrative can assist in increasing consumption because in addition to being appealing to audiences, they help the show build its identity, and they can help build loyalty to a show through consumers building on ongoing emotional connection to certain characters - Without them, it could be argued that interest would wane and thus consumption of reality TV might drop

how globalisation and technologies have influenced consumption

Globalisation and technologies have had a significant influence on the consumption of reality television as it is those aspects that have been a catalyst for the ongoing consumption of reality television. Cultural globalisation (the spread of Western values, ideologies and norms) have helped increase consumption by improving access by also breaking down linguistic, cultural and geographic barriers. This allows consumers worldwide to relate to and enjoy shows from other countries. For example, ‘If You Are One’ is a Chinese dating show that appeals to global audiences, largely due to globalisation. It has a group of dedicated fans in Australia who live-tweet the show and have formed a community following the show. Through technology audiences are able to access subtitles and context about contestants. This increases the ability for a broader range of international audiences to relate to contestants and thus increase consumption. Further, advancements in technology have influenced the consumption of popular culture by making it more accessible. Through social media consumers are able to interact with reality TV in a more personalised way - by

creating and participating in communities. For example, The Bachelor facebook pa ge has created a community for fans of the show to discuss episodes, get extra content in the form of photos and partake in competitions and polls. This feeling of community aids in maintaining popularity of the show and its continued consumption. As well as this the technological advancement of personal devices and internet has created a means through which reality tv can be consumed anywhere and at anytime - completely liberated from an actual tv. This has made consumption of reality tv easier and more frequent as one does not have to be home to watch the show. Overall, globalisation and technologies have significantly influenced the consumption of reality tv as they have allowed freedom and community. Consumers are no longer stuck with their own cultural shows - as shows from around the world can be accessed - and shows have a more personalised feel through online communities and liberation from a television.

the relationship of access and consumption to age, class, ethnicity, gender, location, sexuality

FORMAL - being able to watch the show through television, electricity, internet, smartphone. INFORMAL - having the psychological, emotional or cultural ability or knowledge to connect with and understand the ideologies, rituals, values, norms and representations used in the show. AGE ACMA report - research shows broad age range watches reality tv Restrict - classifications and lack of representation of older characters (informal as it is a barrier for older people to be able to relate or be interested in the show) LOCATION Locations with better access to technology, such as NBN, will have greater formal access to reality tv ACMA 2011 - 99% of all Australians have access to at least 1 tv, average of 2.2 per household - formal access through TV is strong - not the case internationally however. ETHNICITY Limited informal access - not identifying or relating to characters, cultural rituals and values promoted in certain reality shows may be a barrier for certain cultural groups. Globalisation of western values, advances in tech and the fact that reality tv formats can be tailored to appeal to local audiences may mean this is less of a barrier than previously. Relationship between ethnicity and socio-economic status influences access - e.g. 63% of Indiginous Australians have access to the internet, compared to 77% of Australians. CLASS Upper and middle class - greater formal access due to greater access to new technologies such as personal devices and high-speed internet. More time to watch (standard hours, stay-at-home parents). Lower class - limited formal access - may not have extra funds, less time (extra/longer shifts) GENDER Western democracies it is not a significant barrier. However, in India, particularly in more rural and traditional areas, women have restricted use of technology due to their gender. SEXUALITY Heteronormativity = the belief and related assumptions that heterosexuality is the norm. Lack of representation in lead characters and narratives that go beyond stereotypes may discourage persons from accessing certain television shows. E.g. the dominance of heteronormative representations of gender or the

dominant use of limiting sterotypes (Queer Eye) may be a barrier for the LGBTQ+ persons. This is changing rapidly however. how consumption and ownership of paraphernalia influence a sense of identity

Paraphernalia = any miscellaneous articles and equipment associated with a particular activity. Examples for related to reality tv include clothes, books, magazines, music and any other accessory than can be purchased relating to a show. Sense of identity: Many items, such as cookbooks and makeup are useful in day-to-day life. Others allow consumers to advertise or promote that they are fans of a show, such as clothing. Overall, this ownership and consumption of paraphernalia can help to create a strong link between the show and persons, and thus influence their identity. It may allow persons to publicly  align themselves with the values in that show. Furthermore, it provides persons with a connection to others in their micro and meso worlds, this influencing their social identity and sense of belonging into a community. E.g. persons may choose to purchase and consume paraphernalia associated with MasterChef because it projects a particular message about who they believe themselves to be, thir interests, values and sense of self.

the control of the popular culture: the ownership of the popular culture and the tensions between consumers and producers

the stakeholders and how they influence the pop culture family, peer groups, media, marketers, governments, global groups

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Television producers, media production companies, television networks and media corporations own reality TV - these stakeholders create the cultural product, design concept, produce the show and accrue profit. They have the authority  to control the output, this gives them i nstitutional power. E.g. owners of ‘Survivor’ include - MGM television (production), Nine Network, etc

Tensions between consumers and consumers - Occasionally, tensions will occur between the producers and consumers of reality TV as perceived differences arise over the content and direction of the show. Conflict often arises if: - the producer’s profit motive clashes with the consumers desire for what should occur on the show. - There is a perception that the show is not keeping up with contemporary social values - Shift away from reality- producers meddle too much - Unpopular changes in format - Also if contestants divert from their expected behavior e.g. Merlin’s eviction protest on Big Brother in 2004 Stakeholder: an individual, institution or organisation that can influence or be influenced by reality television. FAMILY - Can have a strong influence determining a person’s access to and consumption of reality television - having either a positive or negative impact on consumption - E.g. having young children in the family may limit access and consumption as television must be appropriate (PG and family friendly) - E.g. can encourage access if all people in the family enjoy the show and it becomes routine to watch it PRODUCERS - Producers have the ability to control who the participants are on the show, the environment in which

reality television show participants interact, and how those interactions are presented to the public (through editing) Controlling content to encourage consumption of the show - FRANKENBITING taking different clips and editing them together to sound like one conversation, changing the meaning - creating drama - Choosing people based on character traits and and pairing/grouping people together based on how they will “affect each other the role and impact of official and unofficial censorship

OFFICIAL CENSORSHIP - Governments are an influential stakeholder that have the authority to control (institutional power) what media is available to the public. - Legislation that restricts viewing times a nd applies program ratings - Institutional power allows governments to control access to reality TV THE CLASSIFICATION ACT - Adults have the freedom to read, see and hear what they want - Minors should be protected from material likely to harm or disturb them - Everyone should be protected from exposure to unsolicited material that they find offensive - The need to take account of community concerns about: - Depictions that condone or incite violence, especially sexual violence - The portrayal of persons in a demeaning manner THE BROADCASTING SERVICES ACT - Restriction on broadcasting times - ‘M’ 8:30pm to 5am - ‘MA15+’ 9pm to 5am ACMA AND THE LEGISLATION - The Australian Communications and Media Authority (ACMA) - Responsible for ensuring the effectiveness of legislations, regulations, standards and codes - in the public's interest - Tasked with investigating complaints that the legislation has breached 2006 tasked with investigating whether the ‘Commercial Television Industry Code of Practice reflected community standards regarding reality Tv programming on free-to-air. UNOFFICIAL CENSORSHIP - Refers to censorship of content that occurs in a less formal way Examples: - Macro level, might include editorial decisions by producers and broadcasters to show (or not show) certain footage - Micro level, decisions by parents to control what their children watch through access to TV and technology in the family home.

the influence of power and authority at the micro, meso and macro levels

Micro level: Interactions occur between individuals, their family and peer groups. - The family, as an institution may restrict younger members from being exposed to reality TV (especially if the show espuse themes and values they do not consider appropriate for children e.g. sexual and competitive nature of shows) - On the other hand, many shows espouse family-related values such as MasterChef, which has limited

conflict between contestants and does not promote adult themes. Also focuses on developing positive skills such as cooking, values that some families may want to expose their children to. Interactions between the micro and macro levels of society occur at the meso level. At this level, interactions take place in the community, largely in relation to fan communities. Macro influences have created the demand for reality TV along with micro impacts such as persons and families developing loyal followings of specific characters and shows over many years. This has created interactions in the meso sphere that are made possible by large media platforms. E.g. meso interactions include online fan pages on platforms such as facebook. ‘The Bachelor and Bachelorette Aussie fan page’ has nearly 6000 fans. Facebook has power in being able to make these interactions possible, and authority over how these persons interact (applying Facebook Rules and Responsibilities). The macro level interactions relate to large institutions such as media and government. Decisions made at this level have an impact on reality TV. - The media has immense power of the popularity of a show, through either choosing to promote or not promote a show. E.g. tabloid magazines are regularly issued with reality tv stars from shows on the cover, this encouraging further consumption of the show. - That said, many reality TV shows are owned by large media corporations that also own other media platforms, and therefore promote them in a positive light. - Laws made by governments in regards to censorship have restricted times certain shows can be aired based on the classification th...