Issue in Audience Management - Report Example

Audience, the Consumer of Television Programme, Is in ReturnTransformed into “Commodity”. Major: Media Management Issue in Audience Management Coordinator: Dr Melanie Selfe Name: Student Number: Word Count Introduction Undoubtedly, the contemporary society is surrounded by endless images and media information through various platforms. It is almost accessible for everyone to get exposed to television programs. This invent has fundamentally converted our cognitive schemata about the society, interpersonal relationship among people as well as the relationship between man and nature. Television not only exploits a new way to obtain news and entertainment, but also influence family, culture, and social life. Therefore, American media researcher Real regards television as “super media,” and in nowadays life, television together with other information platforms not only plays a role as medium, but it mostly infiltrates into the life and culture of current society. To a better understand the behaviour and position of audience, American famous mass media scholar, John Fiske compares and contrasts two television economies to discover the meanings and value of television programmes. Princess pearl, one of the most popular series in China, once broke a lot of records in the history of TV shows after first came out in 1998. To be honest, it may not be the typical case for management issues study in a contemporary context. However, it has such great influence in these twenty years, as few of series can be the rivals when making comparisons about the effects to the public. Besides, the behaviour of crazy fans from that time could be quite useful example to show the success of audience management until nowadays. Chuck happened to be another show that survived stiff completion from other TV shows. However, it did survive thanks to support from fans of the show who remained few but hardworking towards renewal of the show. This research essay will reveal the potential power endowed by media from the case study Chuck, which through “save our show” campaign survived five full seasons while its renewal in the second season was just a favour. Main body The analysis of John Fiske’s theory John Fiske is one of the most important critics in mass media culture. He carried out his own research in a unique way, to perform television research and television culture research. Then he published Reading Television and Television Culture in 1978 and 1987 respectively to principally explain his television theory and television economy theory. He stated that no matter how changeable the society is, it is forever a market. Based on Marx’s exchangeable value theory and use value theory, Fiske once put forward with financial economy and cultural economy theory in television research. Financial economy stresses on the exchangeable value, namely currency, while cultural economy emphasize the use value (Mark, 1999). In Understanding Popular Culture, Fiske simplifies this economy system into the following mode: Financial economy Cultural economy producer studio programme audience commodity programme audience meanings/pleasure consumer merchant advertiser audience Other theory about participatory culture Participatory culture refers to a culture which combines with relatively low barriers to artistic expression and civic engagement, strong creating support and sharing creations, as well as some type of informal mentorship whereby experienced participants get along knowledge to novices (Purushotma 2009:pp.12). Here in this theory about participatory culture, the public believe that their contributions would have certain influence on others, and can feel degrees of social connections with others (Mark, 1999). Many a scholarship believe in the benefits from this kind of culture, as it can offer opportunities about person-to-person learning, and giving a changed attitude toward intellectual property, as well as broadcast the diversification of cultural expression and etc. Participatory culture shifts the focus of literacy from individual expression to community involvement (Purushotms, 2009:pp.14). Participatory culture is anything but fringe or underground today, as it has delivered a lot of social phenomenon such as crazy fans about TV dramas. Case study In the year 2009, Chuck (NBC’s) needed a “save our show” campaign. Chuck happened to be a show on geeks and nerds, in particular, buy more nerd herd, the equivalent of Chuck’s best buy geek team, working within a huge electric store fixing various devices. While a nerd became superspy, Chuck (tittle character) would utilize his geek explicit skills towards saving the world, with every episode that featured the title of “Chuck Versus.” This show was filled with jokes and referenced action movies, geek culture generally, Sci-fi movies, and featured cameos by various actresses as well as actors from television and cult film (TV Series Finale, 2012). Fans of the show loved it so much but the way things looked like, the show was going to be cancelled soon. This not something new. Many shows that people love get counselled so soon due to low ratings. If the audience have no say over networks decision making as far as airing shows is concerned, then a show they love will be cancelled very soon. Chuck’s 1st season rang in 2007. At the time of the first thirteen episodes, it got picked up for an entire season for twenty two episodes. Due to the strike of the Writers Guild of America in 2007 - 2008, first season got shortened while the final nine episodes among the commissioned twenty-two never got constructed. For the 1st season, ratings were not satisfactory, however, due to the strike; this show got a second season. January 2008 is the time when the season one’s last episode aired. It was until September in the same year that another episode was aired. The show got support from NBC, as it committed to a second season of full twenty two episodes upon seeing six episodes only and prior to any among the seasons aired within the U.S. inspire if the first season’s weak ratings. For this second season, overall ratings were not strong hence not improving from those from the season one, save for an episode, which aired upon huge advertising push at the time of the Super Bowl. The appearance was that the show headed for cancelation. (Christina, 2014, 5.1) In the 2nd season, Chuck battled a quite difficult time slot. There was dancing with stars for ABC, which happen to be among most popular shows during the season, Terminator: Sarah Canal Chronicles for FOX (2008-2009) that did not do quite well despite that it was better in performance compared to Chuck. In addition, there was the comedy block of How I met your mother and the Big Bang theory both of CBS, which emerged among the top fifty within the year. During the winter, this slot got to be more unsafe even since it attracted new viewers. Dancing with the stars got traded out for The Bachelor during the mid-season then returned during spring. More popular (House M.D. 2004 to 2012) replaced Terminator: The Sarah Canal Chronicles. The NBC used to be regular fourth for the hour, while Chuck was simply unable to compete with programming of the other networks. (Christina, 2014, 5.2). lovers of the show were certain that it would be cancelled soon. This is where the audience had to take action. Through instant feedback provided to TV executives on a programmes’ acceptance level becomes a standard measure for audience engagement. This strategy was applied by the fans of Chuck to save their show. During April 2009, when season 2 of Chuck had only few episodes to go, critics began writing to their viewers persuading them to watch the show, as well as watch it live with an attempt of improving ratings. Time was first approaching for networks to make decisions on renewals hence there were only few chances for viewers to prove that they were watching particular shows. On 6th April 2009, Dan Fienberg wrote that it always happened to some good night watching Chuck, however, this coming Monday show happens to specifically opportune time. This was to be followed by a spring for ”save our show” campaign (Matt, 2009). Fan campaign began through several fan ran websites such as Chuck TV.net among others. Fans on such sites supported the watch/buy/share approach for getting this show renewed. They watched the show while it aired bought DVD for first season and reordered season 2 and they shared the show they loved with friends. Forums had numerous ideas for writing to the executives as well as what to include within them. Fans discussed how to engage the sponsors to get this show renewed. Across websites, fans spread campaign words to encourage other fans to participate and nonfans to view the show. The show aired for five seasons. 91 episodes in total were aired with which 56 of them were aired upon “save our show” campaign. However, there was never an improvement in show ratings while viewership tapered off all through the show’s remaining run. Most of midseason finales as well as season finales got written to give the show’s coherent ending in case the show was going to be cancelled. The question is why Chuck lasted beyond season 3. Earlier, the only way to keep a show on air was through increased viewership. A good example happened to be Jericho as well as Twin Peaks, which got cancelled shortly upon renewal due to lack of growth in audience despite the fact that Twin Peaks was reinstated to air the season 2 reaming 6 episodes. It was not renewed for a third season (LYNETTE, 2012). Audience management analysis The need for Audience Television does require audience so as to be produced. It is through corporation sponsors as well as advertising that it is sponsored. A show becomes successful after realizing that an audience, which happens to be desirable to a network, exist, and then work towards increasing the audience size. Within today’s media environment, it is through various platforms that television content is distributed. This facilitates growth in interaction level and this increases connection between audiences and their favourite programmes as well as networks. Commercial broadcasters as well as the public happens to be developing cross media procedures to ensure participation of audience in different ways. Networks are offering numerous initiatives to enable engagement of the public through commenting, sharing, criticizing or promoting programmes and explaining their material or rather involving themselves in design, production as well as distribution of content. In most times it is true that fans will not be excited about the show only, however, fans even utilize their funds to support and popularize the show. The audience participation concept does share various meanings. Tools like voting through SMS for specific candidates in reality shows, or even making a call in talk shows does express a person’s opinion. Voting shows need to be considered commercial transactions. There as well exists initiatives to provide financial programme production assistance. (Savage 2014) argues that fans can use their power as consumers; they influence network’s decisions with regard to their favourite shows (Savage, 2014, 8.1). The audience’s power as consumers happens to be problematic due to the fact that it needs viewers to participate actively within the preferred capitalistic system in place already. It becomes more complex as campaigns move to the direction of fans utilizing their consumer power to appeal to advertisers. Broadcast managers consider viewers to be consumers. They maximize participation by way of various initiatives that are aimed towards product buying, sending SMS, interacting with commercials, betting, pay per view as well as taking part in draws. Currently, networks are very attentive to the consumption trends of the audience. This is because their viewers are their customers hence quite important. Audience power is strengthening through this hence, audience can now determine networks’ decision as far as favourite programmes are concerned (José & García, 2012, 435). Current strategies provide most agency as well as voice to audiences; having an active part within the process of renewal happens to be a thing, which fans were not able to access in the past. Only could programme producer and presenter put some limited restrictions on audience. However, this influence should be at certain degree that not eliminates audience’s liberty. Of course, the producer cannot foresee the result of their product, where the power of audience dominates (Savage, 2014, 8.2). the fans for shows that are on the bubble of cancelation take measures that prevent their preferred show from becoming non-existent, frequently harnessing internet power for organizing inventive campaigns (Hyman, 2010, 1). In spite of problems that are intrinsic within this fresh effort at exercising fan power, it happens to be as well as progress for fan culture. Previously, fans were considered to be fringe viewers of TV. Today, fans are improving means by which to circumnavigate existing power systems so as to negotiate further control as well as chances of influencing network programming. Involved audiences of fans, even though frequently small, by way of the dedication as well as labour eventually have more power within TV- Advertiser- Consumer connection. TVs relies increasingly on niche audiences, TV shows will be lending themselves more towards fan culture therefore they will be regarded as commodities for fans. The recognition that fans have some power over their shows renewal even when it is a problematic voice, it happens to be significant. According to Fiske, consumers will make popular culture since I is possible for them to control what will be popular (José & García, 2012, 23). Generally speaking, watching television is not a producing action in industrious society, and audiences never think themselves as producers. However, due to the difference between cultural economy and financial economy, there is no a clear line form production to consumption. Actually, there is no difference when the meaning and pleasure is produced and consumed. Audience hence plays double roles spontaneously, as consumers and producers at the same time. Meaning it is created by audience actively but passively received. Nowadays’ market lay more emphasis on the right of television consumer, namely the audience. In the current society, the material as the cultural basis, as well as meaning system, it is inevitably produced from culture industry. However, to transform this material into culture equals to transform it into social identity and relationship, together with exchange pleasure and material, and all the process could only be completed by consumers and users not producers. As the above case study shows, the audience of Princess Pearl in China, they are extremely concerned about the adjustment made by the television station, because they have regarded the programme as their cultural capital, out of which they produce meaning and pleasure to show their concern and social identity. How Data is obtained When it comes to the United States for example, “TV Ratings” is a term that makes people think of “Nelson.” This is because Nelsen Media Research is the company that has become a de facto countrywide measurement service for United States as well as Canada’s television industry. The company measures number of individuals that are watching TV shows and then makes its data accessible by cable and television networks, advisers as well as the media. The technique used by Nelson is statistical sampling for rating the shows (Irving, 2007, 23). This is the same technique used to predict election’s outcome by pollsters. The company then forms a sampling audience then counts how many among them watch each programme. The company then infers from this sample then makes an estimation on number of people watching a show within the entire population. Data collection companies will depend mainly on information that is collected from television set meters, which they install (The Nielsen Company, 2015). They then combine such information with large databases for programmes, which are aired on every TV station as well as cable channel. To now who happens to be viewing television as well as what they are viewing, hey get about five thousand households to agree on becoming part of representative sample for national estimate for ratings. The statistics of Nelsen for instance indicates that within America, 99,000 households possess televisions meaning that their sample size of 5,000 households is relatively small (howstuffworks, 2015). The main idea is to make sure that this sample is quite representative. TVs, programmes, homes, as well as people get measured in various ways. Social media provide instant feedback to executives of Television on the acceptance level of programmes as they get aired (howstuffworks, 2015, 1). This is as well becoming a standard measure for audience engagement level. Involvement of fans creates support as well as visibility of particular programmes. Most shows have come to lounge their twitter and Facebook profiles as well as fan communities that offer exclusive discussions with cast followers or even tickets for the premier of the show. Audience are able to share their stars’ pictures and videos, comment on outcome in real time, join fun clubs as well as follow stars on twitter. Most TV stations are making big use of the same to in an attempt to maximize participation of audience with comments in events of sport, music shows as well as feedback on popular drama series (José & García, 2012, 437). Conclusions Through comparing and contrasting two economies of television, it is easy to reveal the potential power (generally progressive) of mass. Based on the vitality of public, Fiske discovers the possibility of social changes and the motivation to push forward this reformation. As Fiske sees mass culture, it is a progressive, accumulative and antagonistic power, which enables public to boycott mainstream ideology and create meaning, pleasure and identity. What is more, this process could expand audience’s cultural space in micro political field—influence the redistribution of power in micro-politics. However, this over optimistic theory is criticized by many Western scholar, and they thinks that Fiske’s study is subjective and artificial. After all, the populism spirit reflected by Fiske’s television economy theory and mass media study inspires public new thought and illumination. His interpretation of mass media which is promoted by the agent television, focus on the meaning and pleasure created by audience, and the observation of bardic function of television in daily life, all these done by Fiske enlarge people’s knowledge horizon and mode to think. The changing roles of audience provide a new angle for researchers. Bibliography Christina, S., 2014. Chuck versus the ratings: Savvy fans and "save our show" campaigns. Transformative Works and Cultures, Volume 15. howstuffworks, 2015. How do television ratings work?. How Stuff Works, p. 2. Hyman, N., 2010. From Tabasco to peanuts to ... baby bumps. Save Our Show!: A History of TV Fan Campaigns, p. 5. Irving, B., 2007. Demystifying the Business of Television. pp. 21-49. Jenkins, H., 2009. Confronting the Challenges of Participatory Culture. 1 ed. ondon: The MIT Press. Jim, M., 1997. Media content analysis: Its uses; benefits and best. Asia Pacific Public Relations Journal, 6(1), p. 1–34. José, A. & García, 2012. Roles of audience participation in multiplatform television: From fans and consumers, to collaborators and activists. Prticipations, 9(2), pp. 429-447. LYNETTE, R., 2012. Canceled shows: Does your outrage matter?. [Online] Available at: http://www.ew.com/article/2012/11/17/canceled-shows-last-resort [Accessed 30 4 2015]. Mark, D., Lois, F.-W. & Brenda, D., 1999. SENSE-MAKING AND TELEVISION NEWS: AN INQUIRY INTO AUDIENCE INTERPRETATIONS. [Online] Available at: http://www.cios.org/EJCPUBLIC/009/2/009217.html [Accessed 30 4 2015]. Matt, M., 2009. Fall TV: Good Luck, Chuck! Renewal News May Come Soon. [Online] Available at: http://www.tvguide.com/news/fall-tv-chuck-1006133/ [Accessed 30 4 2015]. The Nielsen Company, 2015. Television. [Online] Available at: http://www.nielsen.com/us/en/solutions/measurement/television.html [Accessed 30 4 2015]. TV Series Finale, 2012. Chuck. [Online] Available at: http://tvseriesfinale.com/tv-show/chuck/ [Accessed 30 4 2015]. Read More