The Influence of Mass Media in Conveying Images of Reality TV Programs - Essay Example

Evaluating the Influence of Mass Media in Conveying Images of Reality TV Programs Introduction First, about reality television: it is the most popular genre of television programming in America at present. These programs include game shows, soap operas, dating shows, crime drama, talent shows, travel programs, and sports. Considering reality shows’ myriads of forms, it is not surprising to find that they lack coherence as genre (see Mittell 2004, and Hill 2005). What accounts for its popularity seems to be people’s propensity to enjoy the unscripted dramatics or humorous situations involving ordinary people, and the real situations (see Hartley 2005). Now, this paper is not on the impact or effect of reality television programs, say, to individuals or society at large. It is about the influence of mass media – seen through the prism of different theories on mass media – in conveying images of reality TV shows. And this we shall present in this paper with the use of pictures, illustrations and other material evidence. Likewise, at the outset, we also have to mention an instance of delimitation in the treatment of this paper’s subject matter. It could have been easier to fulfill the task had there been a single, identified reality show. That is, the task is not herculean should it is directed only to, say, American Idol or Don’t Forget the Lyrics. For such an approach could result to a more focused identification and discussion of themes and messages, and the material evidence that are to be used could also be perceived with an unmistakable element of connectedness. But since one of the topic’s elements is broad, then we will only make do with generalities. Themes / Messages Identified The following are just four (4) themes and messages of reality TV shows. The significance of these themes and messages consists in the fact that they will form the backdrop of our evaluation. How are these themes and messages conveyed by the images of reality television programs? (This section is heavily indebted to Freeland (2004) and Mittell (2004).) 1. [Cultivation of audience’s interest in] spectacle of violence Violence of all sorts is being shown in reality shows over the boob tube. And it is of many patterns, although it is possible to simply divide them into just two categories – those that highlight horrors of nature, and those that focus on people who are affected by either crimes or accidents. The first category is typified by Raging Planet of Discovery Channel that shows for example the gory of wildlife involving predator and prey of every class, color and size aside from actual footages of lava spewing out of the mouth of erupting volcano or black smoke emanating from a raging fire in the forest. Other reality shows of the same broadcast contents are When Disaster Strikes and When Animals Attack. In the former, there are shows of, for instance, people being swept by raging waters, people in distressed as they cling on to a vehicle to stay afloat in rising flood waters, or even a person being saved from a burning house by a daring fireman. In the latter, there were shows with manifest details how a preying carnivorous flower would devour an insect, a group of jackals hunting a hapless and visibly tired deer, or a young buffalo being feasted on by wild cats as vultures are waiting for their share of the crap. Not to be outdone, the second category has cop shows, doctor shows and disaster stories. Cop shows are about how human criminals are plying their trade. In a regular cop show aired by Channel News Asia, the weekly story was about how a credit card and ATM card thief was operating. In one shot, he was shown breaking the windshield of a car using a sizeable stone in order to get what the object he wanted to steal from inside a car in a parking space of a residential compound. An example of doctor show is Trauma: Life in ER. Here, it is most often the effects of violence that are being flashed on the TV screen – such as a bleeding face, or a bandaged body parts of the actors; and, if one considers the rushing and all the fast actions that are characteristic of drama in emergency rooms, one is reminded of incidents (that are violent in nature) that caused those hurried proceedings. Rescue 911 is an instance of disaster stories. The show is associated by many with the siren-blasting ambulance, making its way through the traffic, as it responds to a distress call or as it hastens into hospital as always in a rush for life. Interestingly, the show that is supposed to showcase funny videos as its title is America’s Funniest Videos also carries gruesome videos ranging from crash of every kind involving humans to scenes of panicking people during an instance of, say, tornado or fire. While the host tries to make the viewing of the video material somewhat light by his funny comments and one-liners, there are shots that rightly elicit “ouch!” and “ahs!” from the viewers. For instance, a young man on skate board, practicing his craft, tries to skate on a railing of a stair, falls out of balance, and unfortunately hits his groin to the metal bar. It was an unfortunate sight to see, especially as the lad tumbles to the ground in obvious pain. Big Brother, too, is classified as a “violent” show (Dutton (2006)). The violence in this show is attested to by the use of surveillance camera in all places of the house. Rightly so, the Big Brother show has raised the issue on legitimacy of use of surveillance camera. For one, the use of such gadget is an assault to right to privacy. The rules that the housemates are following are not all humane, Dutton observes. There is a provision that Big Brother is going to be obeyed at all times. This may be part of a pre-agreement between Big Brother and the housemates, but one cannot but raise the significant point here that there are viewers who are also a party to what is happening inside the house (or what is being done to the housemates). 2. [Promotion of] conservative (social) aims [like racist fears about criminals, desires for more police intervention, faith in medical expertise and worship of (typically male) authority figures] The social aims that seem to be promoted by reality shows are mostly that of traditional religion and the middle class. Cop shows most often deploy or use as their criminal characters – who would, at the end of the show, be locked up behind bars – low-life scumbags or alcoholics or drug abusers. It is actually doubly troubling if on certain occasions, the show would regularly feature a member of specific race or ethnic group to act as the violator of the law. Rescue 911 seeks very often to assuage the fears of, --e.g. -- having nanny abusing her ward when the parents are not at home, which is an example of a concern of middle class. In trying moments, too, reality shows do not forget to roll the camera to capture the moments when one is praying intensely, with bowed head, eyes closed, and sometimes tears rolling down one’s cheeks – precisely an exact moment when one is humbled and has no one to turn to except the God or gods he/she knows. If one considers traditional or nuclear family set up and, especially, patriarchal supremacy, as a conservative social aim, then reality TV programs are promoters of status quo. Boteach (2005) holds that the flood of reality TV shows that we are seeing carry with it a growing trend of misogyny at least in American culture. This is evidenced by portrayal of women as, among others, brainless bimbos. The Bachelor, For Love or Money, and Average Joe are boosting their ratings by showing attractive women in competition for one man, one man’s money, or both. 3. Tension between ethics and “entertainment” This theme arises out of the ensuing ethical concerns that are being raised as stakes in the game shows like Survivor, Fear Factor, and others are raised purportedly to jack up, too, the shows’ entertainment value. This is enunciated very clearly in the motto of Survivor: “Outwit, Outplay, Outlast.” The impression is that dramatic pleasures are more engaging when ends are extreme, as these game shows assure the viewers that the scenes are more risky, dangerous and uncertain. These programs are observably failing to observe ethical demarcations as regards what is truly entertaining and what is already too gross to entertain. Well, the usual undertone of these shows is to push the human spirit to its limit. But, at what cost? 4. Contrasts between capitalistic and primitive motifs This is especially true in Survivor series. At the outset, the contrasts are very obvious. For one, the prize for the winner is hefty. And the contestants are brought into a far away place – in isolated island – and the scenes that are being portrayed display either primitive motifs and/or, as Ryan (2006) observes, New Age patterns. Among these are emblems of the show emblazoned on the scarves that contestants, the flags of each team, the allusion to tribal council that decides who to leave, etc. Reference to Theories At this juncture, we try to see whether the themes or messages that we cited in the preceding are along the line of any of the mass media theories. In many literature on our issue, one reads about apprehension of an uncritical viewing of reality shows on televisions. For one, it is a powerful medium of thinking what the reality is and how a reality is to be viewed and understood (cf. the theories of Agenda Setting, Framing and Priming Theories). This is very significant insofar as one considers the treatment by the reality shows to women, or the shows’ stereotyping of criminals, and their promotion of certain values and attitudes. Dutton (2006), says that Big Brother, for example, is more than giving its viewers a voyeuristic experience or a kind of soap opera. For, in a way, there is a compelling reason to believe that the show is affording its viewers a look at an authentic human experience, akin to a kind of religious ritual where one is inducted through forms of suffering. Hems (2005) observes that reality shows contribute to “working through,” a psychoanalysis concept on the role of television in processing the material of the witnessed world into narrativized, explained forms. TV is engaged in the process of making and remaking meanings (cf. Media Richness and Medium Theories), or in trying to provide explanations about realities. In reality shows, viewers are made witnesses to see how others navigate their realities and define their own sense of self. Thus, in the process, viewers can identify with the personae dramatis on reality TV, as they feel connection with the latter especially in terms of the shared material world – hence, confirming their perception of the reality -- shown on the boob tube. And, while we are asking that television is such a powerful medium, we likewise that it is not a neutral force in terms of its impact on the viewers (Magic Bullet Theory). Boteach says the world is dangerous to live in when men regard women very lowly and similarly women do themselves – all because of media influence. Likewise, that the general format of most of the reality shows is “competition,” an obvious effect to the viewers is their eventual perception that the world is a stage where competition happens. And, here, the media in particular the reality shows do not step in to provide guidance to at least “walk the viewers through” into resolution of ensuing ethical issues out of this competition-conditioned perspective. On positive light, there are reality shows that seem to advocate “helpful” values and attitudes (see Cultivation Theory) – at least, if one considers the “trainings” given by Donald Trump to his applicants in The Apprentice. The setting is business world, and the contestants are out not to hone their singing or dancing talents, but their business acuity. Nonetheless, this is obviously debatable as, again, this is promoting society’s status quo. Almost in similar vein, it is of importance that the issue of cultural specificity is raised (Hill 2005). To cap our appeal to mass media theories, one may also mention about the prevailing talent shows in televisions. For this kind of reality TV shows, we have the likes of American Got Talent, American Idol – or its copy cat in different countries like Pinoy Idol in the Philippines, or Singapore or Malaysian Idol – and So Do You Think You Can Dance. While these shows are celebrating the best of talents that they stumble upon, it is also evident that in the process those whose talents cannot be at par – well, as American Idol judges say – cannot go to Las Vegas. This is precisely the essence of Knowledge Gap Theory. These shows, as their unintended effect (for it is going to be debatable if these show originally and purposely intend to), hone the already extraordinary talents of the few chosen ones, and drop like a hot potato the talents of those whose gifts are not impressive to the judges. Usually for these shows, prior to their regular airing of the competition, clips from auditions are shown. Here, what one sees is not always amusing. Photographic, Illustrative and Material Evidence Violent Nature The pictures are on erupting volcano (right) and effect of floods (left). These pictures are shown not only in news, but also in documentary films such as those that are run by Discovery Channel. See for instance the show Raging Earth. Victims of Disaster, Crime or Accident With their use of actual footages showing victims of crime (right), accident (center) or disaster (left), reality TV shows are reinforcing violence in the consciousness of the public. These footages resemble those that are shown in cops shows highlighting the actual functions of the police force. Violence in Big Brother Show What constitutes “violent” Big Brother Show? Accordingly, the violence in this reality show is in the form of, among others, the use of surveillance camera so that there is no nook or corner in the House that is hidden from Big Brother. Too, another face of violence in the show is the almost unconditional obedience that is expected from the “housemates”. The Problem with Cop Shows Indeed, the reality cop shows cross the demarcation line when they surreptitiously show more frequently cases involving marginalized racial or ethnic groups’ member(s). A Footage of Rescue 911 Above is footage of Rescue 911, where the crew members are doing an actual rescue on occasion of a fire. This reality TV is said to primarily serve the purpose of assuaging the fears of the middle class. A picture of crying women in prayer after a disaster. Footage of this kind reinforces praying posture every after an unfortunate event. This is conditioning the consciousness of the public. The Bachelor’s poster says it all: women chase a man. For purpose of entertainment, can we be “unethically competitive”? The pictures on the right are actual footages from Fear Factor. The riskier or, sometimes, grosser the scene, the higher entertainment value the show gets. The picture on the left is Survivor’s logo – the motto, Outwit, Outplay, Outlast, tells of the intensity of the competition in the show. Evaluation From the preceding, one realizes that reality TV has tremendous effect on the psychology both of the individual and the collective. For this, it would be best to see the producers of these shows seizing the occasion to exercise that privilege moment of being in the position to rock the status quo by injecting values and attitudes supporting noble causes such as empowerment of women, peaceful co-existence of not just individuals but also races and nations, to name just two. In addition, the time has to be seized since reality TV shows are actually raising the important issues of surveillance (viz. privacy of individuals), the face of criminal violence on TV, and even social control. References: Andrejevic, M., 2003. Reality TV: the work of being watched. Lanham, Maryland: Rowman and Littlefield Publishers, Inc. Austen, J., 2005. TV a-go-go: rock on TV from American Bandstand to American Idol. Chicago: Chicago Review Press, Inc. Biresi, A., Nunn, H., 2005. Reality TV. London: Wallflower Press. Boteach, S., 2005. Hating women: America’s hostile campaign against the fairer sex. N.Y.: HarperCollins Publishers. Cunningham, S., Turner, G., 2006. The media and communications in Australia. Sydney: Southwood Press Pty, Ltd. Dutton, E.C., 2006. Big brother, pilgrimage and the Ndembu of Zambia: examining the big brother phenomenon through the anthropology of religion. Journal of Religion and popular culture. 12 (Spring Issue). Available from http://www.usask.ca/relst/jrpc/art12-bigbrother.html [accessed 21 September 2008]. Freeland, C., 2004. Ordinary horror on reality TV. In: Ryan, M.L., ed. Narrative across media: the language of storytelling. Nebraska: University of Nebraska Press, 244-266. Giles, D., 2003. Media psychology. New Jersey: Lawrence Erlbaum Associates, Inc. Hartley, J., 2005. Creative Industries. Malden, MA: Blackwell Publishing Ltd. Hems, G., 2005. Reality TV has spoken. In: Kadar, M., et.al, ed. Tracing the autobiographical. Waterloo, Ontario: Wilfrid Laurier University Press, 43-61. Hill, A, 2005. Reality TV: audiences and popular factual television. New York: Routledge. Mittell, J., 2004. Genre and television: from cop shows to cartoons in American culture. New York: Routledge. Murray, S., Ouellette, L., 2004. Reality TV: remaking television culture. New York: New York University Press. Reis, S., Wiltz, J., 2004. Why people watch reality TV. Media psychology, 6 (4), 363-378. Ryan, M.L., ed., 2006. Avatars of story. Minneapolis: University of Minnesota Press. Walker, M., 2008. Get real! California: Phonix Books, Inc. Read More