The Contexts, Pressures, and Constraints of Television Production - Assignment Example

The contexts, pressures and constraints of television production have changed hugely during the last four decades. These changes inevitably change the nature of television drama texts. Discuss The proliferation of mainstream broadcast television in the 1950s led to the widespread dissemination of the television format in the 1960s and as a result, Mirzoeff posits that this led to the blurring of the conventional boundaries between the personal and political through “producing a public sphere in which social questions are understood in terms of individual dramas” (Mirzoeff, 2002, p.451). Furthermore, the inception of mainstream broadcast television fuelled the creation of a new public sphere through increased audience participation. To this end, Mirzoeff (2002) posits that the televisual public sphere format: “fosters a particular form of spectatorship: it creates a split or multiple identification, in which there is an approximate reflection of the viewer’s experience, but also simultaneously, a re-channelling of this experience into a limited number of conventional and highly moralised narratives” (p.451). On the other hand, the commercial factors influencing television production have fuelled debate as to the impact of the free market model on the development and nature of television drama texts (Allen & Hill, 2004, p52). For example, Allen & Hill highlight that the conflict between the commercial factors influencing television production and the liberal reformer position in favour of protection of the television market model from commercial factors has in turn impacted the narrative form and content of television drama (2004, p.52). The focus of this paper is to critically evaluate the extent to which the constraints, pressures and factors influencing television production have influenced the nature of television drama texts with contextual reference to Fox TV’s US drama Prison Break, which aired between 2005 and 2009. It is submitted as a central proposition in this paper that within the mainstream media model, the nature of the television drama text is intrinsically dependent on the external factors impacting the television production model; which often includes commercial considerations. However, it is submitted that the high end production of Prison Break and interweaving of multi-layered narratives akin to a cinematic production for film, is symptomatic of a distinct change in television production as a result of increasing fragmentation of the target audience and the mainstream television market (Harden & Heyman, 2009). For example, the digital era has led to numerous channels of communication, which in turn has had a significant impact on conventional television (Anderson & Gray, 2008). Whilst television clearly remains relevant, the commercial model of production faces novel challenges in gaining audience attention due to increasing competition and the potential implications of the Internet TV Protocol (Miller 2008). The increased power of the consumer and desire for interactivity has triggered the creation of the transmedia model of storytelling, which is redefining television production as evidenced by Prison Break’s interactivity with audience through embracing digital communication channels (Burton, 2010). The transmedia model will be discussed in further detail below and serves to reiterate the central argument in this paper that the correlation between context and financial constraints ultimately dictates television drama output. However, the fundamental difference within the contemporary climate is that the increased interactivity and scope for audience participation is leading to a television production model that is no longer solely controlled by corporate commercial interests (Millerson & Owens, 2009). Furthermore, the concomitant result of this has been the need to think laterally in the dissemination of television drama (Crisell, 2006; Burton, 2010). For example, from the inception and dissemination of mainstream broadcast television in the 1950s, the interrelationship between the socio-cultural framework, commercial interests and budget constraints has continued to impact the television drama output (Turner & Tay, 2009). Furthermore, Allen and Hill refer to the fact that the wide demographic reach of television led to the commercialisation of the medium with the result that television programming being increasingly geared towards the part of the demographic where the purchasing power is (Allen & Hill, 2004, p.52). In reiterating this argument, Allen and Hill specifically refer to the point that commercial television ultimately favours the more affluent consumers, which in turn impacts the nature of television drama texts. For example, they refer to the arguments of Meehan (1990) that: “The free market approach to television culture ultimately is geared towards the maximization of profit and the minimisation of financial risk”(In Allen & Hill, 2004, p.52). Whilst advertising has often been correlated with the daytime talk show with the female demographic, the advertising revenue potential also influences primetime slots and the use of props and tools in television dramas. For example, Harden & Heymen highlight that when Toyota launched the Yaris, they discovered that the Prison Break audience matched their target market and beyond advertising in the commercials, Toyota also served 10 second slots of advertising before the 2 minute mobisodes of the show (2009, p.223). As a result, academic debate has raged as to the impact of the commercial framework within which television production operates on the quality and form of the television drama; with some commentators arguing that the commercial approach to television has led to continuous recycling of genres, themes and narratives (Allen & Hill, 2004). For example, Nelson highlights the point that whilst previously the limited scope of narrative in US dramas reinforced the problem of hegemony in the television drama output; there has been a distinct change in the nature of television dramas in the last decade, which has been impacted by external factors influencing the conventional television production model (Nelson, 2007, p18). Whilst this may have departed from traditional narratives to the Todorov “narratology model”(Nelson, 2007); it is evident that ultimately the interrelationship between socio-cultural factors and the economic framework within which television production operates will inherently influence the output of the television drama. This is highlighted if we contrast the contemporary US television dramas such as Prison Break with previous groundbreaking dramas such as Hill Street Blues and The Singing Detective (Nelson, 2007). Whilst those dramas triggered television scholars to analyse and debate the multi-layered narratives and the use of these dramas to act as microcosms of social context; Nelson highlights how the changes in the television production model as a result of complex external factors have fuelled the “high-end” television drama such as Prison Break, which is “a term borrowed from the industry to loosely describe programmes made with big budgets and high production values, and scheduled in primetime slots” (Nelson, 2007). Prison Break was a prime time high end drama within Nelson’s definition and its visual narrative and trajectory adopted a distinctly Todorov approach to narrative discourse and arguably moved away from the previous criticisms of commercial television dramas often using recycled narratives and genres. However, it is interesting to note that Fox turned down the Prison Break series due to concerns regarding long term success of the series. It was the success of high end prime time shows such as Lost and 24 which motivated Fox to commence production (Turner & Tay, 2009). Therefore, it was the context of success of shows perceived to be similar that resulted in Prison Break’s production, which highlights the point that ultimately, it is the context within which television production operates and genre trends that will influence the nature of television drama. This is further supported by Nelson’s comments that dramas like Prison Break identify “emergent, aesthetic and cultural forms in TV and offer an account of the force field of influences in which they arise: production and distribution circumstances, textual forms, reception and cultural values” (Nelson, 2007, 23). For example, in Prison Break the stylistic choice of how the narrative unveils serves to create the enigma narrative, which from a dramatic perspective engages the audience and retains suspense (Turner & Tay, 2009). Furthermore, the combination of a fragmented chronology and structure of presentation underlines the Todorov use of narrative structure to highlight the relationship between events and the overall narrative for dramatic effect. In Prison Break this is highlighted by the sophisticated modes of storytelling in conjunction with cinematic aesthetics. The visual presentation of the narrative not only is thrilling from the audience perspective but it also enabled the Prison Break drama to remain attractive for both the network and audiences in a prime time slot. Additionally, as highlighted above a significant element of the series’ success was the ability of Fox to capitalise on the beginning of a trend in primetime US drama as a result of Lost and 24 before market saturation, which arguably is part of the reason for Prison Break’s success when first aired in comparison to the recent NBC offering the Event. Therefore, whilst context and budget undoubtedly impact the nature of television drama output; a common mistake for television networks is to recycle formats particularly when a new trend of TV show is proven to be a hit with audiences such as Prison Break. Furthermore, whilst the availability of a big budget undoubtedly contributed to the televisual aesthetic appeal of Prison Break; it was the ability of the series to be aired at just the right time in addressing consumer demand for this particular type of drama that was a major factor in its initial success. Accordingly, this again reiterates the central argument in this paper that it is the interrelationship between socio-cultural trends, commercial interests and economics which impacts television drama output. Most importantly, as highlighted by Prison Break, the success of the television drama output is also contributed to by the ability to innovate or catch a trend at the right time before genre saturation. This is particularly important in the contemporary market as the previous television production model referred to by Allen and Hill above no longer works in the current distribution model (Crisell, 2006). For example, Nelson highlights how market forces and the rise of digital technologies have significantly redefined the framework within television production operates (2007). This is highlighted by the transmedia distribution model, which is redefining film and television production (Burton, 2010). For example, a recent in depth study of the transmedia model by Burton (2010) entitled “TV Breaks Free: Welcome to the Age of Transmedia,” comments that the rise of digital technology has not only created multiple media distribution channels; it has also led to increased desire for content and interactivity at audience level (2010). This increase in audience demand for participation and novel methods of receiving content has impacted conventional television production and Burton refers to this new model as “transmedia storytelling”, where “broadcasters are building fictional worlds that smash through their frames on to multiple platforms” (Burton, 2010). Burton highlights that for television producers and TV networks the rise of multi choice television, mobile and the internet has resulted in fierce competition for an increasingly fragmented audience (Burton, 2010). From a production perspective, Burton comments that “as broadband internet adoption started to hit TV ratings, the networks began to see the new digital platforms- YouTube, MySpace, Habbo – as potential tools for building audiences” (Burton, 2010). Prison Break is a prime example of this where a transmedia narrative coincided with the TV show to engage further with the audience. For example, Prison Break had numerous short episodes that were specifically for mobile, which included several tie-ins linking with the story such as internet episodes and video games. The Prison Break: Proof of Innocence was a spin off series that was created solely for mobile phones and this in turn was accompanied by an official magazine and novel. Additionally, the use of the Internet and multimedia channels to engage with the audience also facilitated audiences communicating with each other through blogs and social networking (Turner & Tay, 2009 p.42). To this end, Turner and Tay comment that the result of contemporary context on television drama output has resulted in the development of more “elaborate programme narratives aimed at those fans who luxuriate in the labyrinthine plots” (2009, p.43). This is directly as a result of the interrelationship between the show and development of sub plots through internet content that relates to the show. As a result, the context of the transmedia model has also redefined the delivery of narrative due to the increased demand for complex plotlines that pose more questions for the audience. Accordingly, the above analysis highlights that the output of television drama is intrinsically linked to context, finance and budget constraints of television production. Additionally, whilst the conventional television production model was overwhelmingly shaped by commercial interests, the contemporary market model has significantly changed, which is exemplified by the growth of digital technologies and the development of the transmedia storytelling model as highlighted by the example of Prison Break. Furthermore, the contemporary model has created a shifting dynamic in television production, which is moving beyond commercial interests of media conglomerates through the increasing control of the fragmented audience. As a result, this not only is influencing the development of television drama, the example of Prison Break demonstrates that it is also creating an increasingly multilayered narrative discourse in the production of television drama. BIBLIOGRAPHY Allen, R. C. & Hill A. (2004). The Television Studies Reader. Routledge Anderson, R. & Gray, J. (2008). Battleground the media: Volume 1 Sage Publishing Group Bignell, J. and Lacey, S. (eds.)(2005): Popular Television Drama, Manchester: Manchester University Press Burton, C (2010). TV Breaks Free... And So Does Hollywood. Welcome to the Age of Transmedia. Available at www.wired.com accessed December 2010. Crisell, A. (2006): Modern Television: thinking inside the box, Pergamon Gervich, C. (2008). Small Screen, Big Picture: A Writer’s Guide to the TV business. Gervich Press. Harden, L & Heyman, B. (2009). Digital Engagement: internet marketing that captures customers. Amacom Jenkins, H (2006). 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