Television Liveness - Coursework Example

TELEVISION LIVENESS Television Liveness Customer Inserts His/Her Name Customer Inserts Grade Course Customer Inserts Tutor’s Name 26, 10, 2010 Media continues to play an important role in the society today. The many media channels available today have continued to contribute to changing socio political landscape across the world. Among these channels of media is television, which has remained as a preference for a long time due to its promise of liveness. This research aims at contrasting how the promise of television liveness has been achieved in pre and now post network era. Following closely after the radio invention was television, which has practically carved from the radio audience when it appeared on the scene in the 1940s and 50s. The fact that television programmes would be broadcasted live contributed to increased audience. Television as a media channel continues attracting a sizeable audience despite the advent of multi reality format approaches that presently combine telephony and web with broadcasting. Media and culture scholars have hypothesized the transformation of the television as a media channel with one such scholar terming it as the phenomenal television. The liveness concept in television today continues to draw attention and interest among media scholars. A derived mutual understanding on the common understanding as far as television is concerned is that television relevance today depends on liveness. It is vital to remember that the television remains the monopoly of narrative seriality currently (Buonanno 2007). For a long period, liveness on television was achieved through seriality. In this approach, the viewers were compelled to closely follow the programme as a series eventually deriving a sense of belonging as part of the concept of liveness. This approach was enhanced by narration enabling the viewer to pick up the pieces as they joined in the series. In this post network era, the television is quickly transforming itself in order to tap into the digital revolution by going digital. Today the presence of digital television which has almost replaced the traditional analogue continues to increase in scope as well as audience as more television channels under the digital setting can now be supported. Lotz (2007) notes that Post network era practices have led the television audience not only to fracture among different channels and devices but also to splinter temporarily. The control over the television experience that various technologies offer has ruptured the norm of simultaneity in television experience and enabled audiences to capture television on their own terms. (p.35). Media today continues to realize the influx of multi platform reality formats consisting of broadcast components, the web and telephony, which are all supported by these platforms which serve as audience response channels which encourage audience participation in broadcasts. These applications will extend the various contexts of liveness and eventfulness, which are the means by which broadcasters can compete thereby expanding media markets, as well as to secure their audience loyalty. Television as a media channel continues to attract huge audience as a major platform upon which reality television heavily thrives upon today. In this post network era for instance, telephony can combine with television to facilitate audience participation through voting. This has been popularized during programmes that are pushing liveness to another level. This voting by the audience is on the actors cum contestants as what is happening presently in some reality shows like Pop Idol. The participation by voting is also enabled by the use of web platforms that run the internet television on popular media like YouTube. Multi platforms have added a dimension to liveness by providing a number of avenues through which the audience feel noticed achieving the concept of liveness a very important concept of television for the audience. There is a difference as far as communication with a finite and named group of others and platforms emphasizing communication and a generalized broadcast. The initial type of platform will includes channels such as blogs, chats and discussion groups whereas the latter, broadcasting. Feuer and Kaplan (1983) argues “that the principles of an ideology of liveness is supported to naturalizes various conventions that are able to make events to appear as though they are unfolding in an immediate ‘now’”(p.14). Couldry (2004) suggests that “liveness within media events is quickly becoming a variety of cross media construction” (p.358). Closely looking at these multi reality formats reveals their high dependency on what Jerome Bourdon (2000) calls the dual core features of liveness. As digital television is finally gaining momentum and digital programming is becoming the norm, televisual liveness is now becoming compatible with web experiences which are presently known to portray a sense of now or immediacy (McPherson ,Chun & Keenan 2006). However, a closer understanding of the television as a media channel indicates that it gives an impression of liveness though what is being viewed is not being transmitted live as such. Bourdon (2000) in his writing has mentioned studio based shows which maybe pre- recorded however seeming live. This is achieved when the television crew employs a variety of continuity devices including recurring direct camera addresses, continuous commentaries and round robin conversational devices an approach that was not possible during the network era. The main transmission during the post network era is generally achieved by employing layers of continuity liveness, which form the core of the transmission. Multi reality formats used to achieve liveness today include a range of methods used in constructing temporal co-presence. Today enhanced audience participation using the available return channels such as chats, blogging, short text messages has changed the methods of achieving liveness through broadcasting in programmes like Pop Idol and Big Brother (Kjus 2006). This has predominantly worked by extending the vitality of liveness and eventfulness. While transmission is seeking to gain liveness, the use of audience participation is working to broaden liveness where participants are invited to help viewers experience a captivating sense of immediacy. This also results in a sense of continuity based on unfolding transmission. The multi reality formats have enabled digital feedback channels to merge into a variety of tools linking up the liveness of live transmission, the propinquity of surfing and the uninterrupted recounting of the participants’ everyday lives. When we consider broadcasting, liveness and eventfulness are noted as the two closely tied sets of conventions. A number of television theories revolve around understanding the concept of liveness. During the early days, scholars and academics including professionals advanced the debate on the uniqueness of television in relation to cinema. The distinguishing characteristics mainly bordered on liveness, the screen size and family reception. Bourdon (2000) notes that “Even though liveness was a professional theory with a strong emphasis on ideological notions such as ‘authenticity’ and truth it was adapted by academic theory in various countries” (p.534). The moments of maximum liveness are said to occur when we watch at the instance as the event and at the instance as everyone else. The event maybe taking place in different places and covered through television as a typically occurrence during big media events. On the other hand there maybe a series of settings providing the sensation that the programme being broadcasted is live and as such may be pronounced. In this case the impression of belief is all-important in achieving the concept of liveness. Unlike the technician in the studio who perceives both the on going event and the representation on TV, most viewers see only the representation and assume it to be a live event. However technically this represents a two dimensional audio visual of an event which is actually taking place. This necessarily implies that live broadcasting has other cognitive implications not just based on the fact that it is live but also that it is non fictional. Currently though television liveness is being achieved through what is referred to as fiction live. The objective here is to help the audience to be a participant within a specific interpretive community as well as a broader audience which may be on a national level. Lotz (2008) asserts that “The hundreds of channels offering programming by the end of the multi channel transition has significantly fragmented the audience” (p.27). In advocating for an era of phenomenal television, Lotz(2008) goes ahead to assert that “Television may not be dying but changes in content and how and where we view have complicated how we think about and understand its role in the culture”(p.30). Studies have indicated that during the network era, television remained relevant based on its ability to widely share information and ideas thereby resulting in a kind of electronic public domain. According to Davis (2007) The 21st century sees television at a crucial moment in its development. The contemporary field of television is characterized by transformation. There are big changes occurring with regard to television’s technological hardware, transitions from analogue to digital broadcasting, increasing satellite services as well as the twin developments of gigantic home theatres and miniaturized communication devices on which TV images can be received. TV is shifting further away from its traditional domestic setting towards mobile and individual modes of reception (p.36). The importance of liveness as a concept of broadcast coverage focuses on the impact it has in offering a real sensation of access to an event as it advances moment by moment. Currently media viewers have access to a variety of tools. Apart from the conventional television, they have access to computers and internet as tools. Using these tools, the audience can be interactively engaged. This actually determines their kind of investment in terms of media channels and what they can profitably acquire. However, these kinds of expenses are determined by technologies and social practices among other things. An interesting and powerful convergence has emerged though where a number of internet configurations employ the television and print media in order to achieve direct viewer addressing (White 2006). Website designers continue to make use of cookies, which are historical sessions about a user browsing activities enabling them to identify the user by their name or alias. All this is meant to give a sense of liveness. Seemingly, the internet may be perceived as a commercial television with inherent ability to constantly address appeals (White 2006). Feuer and Kaplan (1983) in their writing points to the fact that television liveness occurs when the time of the event corresponds to the transmission and viewing times. Another view by other writers and academicians attempts to attach this liveness to the television by asserting that television is alive medium as described at the time of its golden age during the advent of the famous televised performances that happened as instantaneous as viewers were watching. While trying to understand how television broadcast is collaborating with other platform such as the internet to enhance liveness, it is important to remember that liveness is the television’s worth. In this post network era, the internet is also perceived as commercial television whose liveness can be enabled when a user rewrites codes that immediately alter his environment. The user is also able to reset certain configurations or simply refresh a web page (Mc Pherson, Chin & Keenan 2006). All this is meant to give a sense of liveness. White (2006) suggests that, “these internet settings tend to imply that reliability is facilitated by liveness and updating rather than indicating that reliability is made possible by continuance and immutability” (p.346). The debate about film and television has continued to elicit various schools of thoughts from historians. Under certain circumstances, film and television are understood to make an exceptional contribution to historical discourse because they allow viewers to recover the liveness and past memorable moments, helping them to see and feel what must have been like to be part of history. For a long time television has remained the dominant media channel. The reason has mainly been its ability to actively engage the audience senses. It is no wonder then that liveness as a concept has continued to be propagated in the media to engage the audience. It has been a long known fact that television as a media channel is a source of income for the multi billion dollar advertising industry. This has resulted in the need for television to engage the minds of the audience who in turn buy from what is being advertised. Contemporary television continues to explore newer frontiers in advancing the all so important concept of liveness. It remains to this day a fact that liveness in as far as contemporary television is concerned is very important. However, studies as indicated in this writing reveal a fallacy of even the very aspect of liveness. This is just a creation of the media to blend with aspirations of an entertainment hungry audience. Television formerly began portraying liveness by broadcasting live performances to the mass audience. Later on narrative seriality was employed to postulate liveness. However as the concept of phenomenal television is presently being experienced, liveness is now assuming a broader context and involving a lot more than just the television as a broadcast media channel (Lotz 2008). A technological shift in both programming and configuration is presently bringing the television at a point where the broadcast component is collaborating with web based tools and telephony to offer a newer context of liveness. Technological advancements have enabled liveness to be more effectively achieved. Pre recordings are just one of the many avenues presently that television uses to insinuate liveness. This is a departure from the network era when television was about live performance. Liveness on screen has to be acted out and the audience has a part to play to ensure that a true sensation of liveness is achieved. It is without doubt that the most viewed programming on television today is that which has employed the aspects of liveness. Talk shows, real life documentaries, reality shows among other programmes continue to attract a large audience today due to this liveness concept. This study reveals that a variety of ways have been employed by the broadcasting houses to not only demonstrate liveness but also enhance it through eventfulness (Lotz 2008). Broadcast houses have carried out their research that has established that liveness and eventfulness are perhaps their biggest bet on bigger audience. With such understanding contemporary television has sought to exploit other channels of media to ensure that liveness and eventfulness is achieved. The running of series such as big brother or survivor is what the broadcasting houses are using to maintain liveness. The audiences are often engaged in such settings through a voting system for instance, where the actor in the programme become contestants and the audience closely monitor each plot as it unfolds to determine the most preferable or otherwise. The audience are also allowed a glimpse into the actor cum contestant personal lives being able to share their fears and achievements. This is planned and delivered by the broadcast houses through pre- season schedules where the actors cum contestants can be able for example to interact with their audience through blogs, or chat in discussion groups. This is meant to enhance a connectedness which becomes the perfect ingredient for achieving liveness. The internet and telephony have provided the means for the broadcast component to traverse the new frontier of liveness. These platforms offer the audience a connection point even as programme commences on the broadcast platform. This post network era television idea is one that postulates that the multi reality formats available are actually enabling the television-broadcasting component to explore other means to achieve liveness, which remains the point of relevance for modern day television. The concept of liveness during the network era differs in a number of aspects from the post network era; the technological employed to achieve liveness remaining the prime one among them. In summary, it is possible to infer that during the network era, the understanding of liveness pointed to the need to have coverage of live performances. These events were covered and transmitted as they occurred giving a sense of liveness. However, in real sense there was a significant delay in what was happening and what was being broadcasted, however, the audience had a notion of receiving a live coverage. The computer, internet and telephony have presently combined with the post network era television to establish as contemporary concept of liveness (White 2006). Programming techniques have also changed to ensure that this concept of liveness and eventfulness is maintained. Programming in contemporary television has become more audience centred unlike during the network era times. This approach involves the audience more while maintaining an audience following which remains one of the most important aspects of television broadcasting today. During the network era, the television remained the undisputed media channel which attracted a large following that derived prestige in belonging to this electronic public sphere. However with the diverse tools and technologies to supplement or compete television, audience loyalty remains an elusive undertaking in modern day television settings. Liveness however still plays a pivotal role in determining this following as much as was the case during the network era. Liveness remains an important concept in television broadcast during the pre and the post network era. A number of ways have been mentioned within this writing on how liveness is achieved for both pre and post network eras. The ways that liveness is being achieved has changed over time to embrace the emerging technologies. This in essence means that, achieving liveness and eventfulness entails the intelligent merging of these multi reality formats available today with the broadcast component (McPherson, Chun & Keenan 2006). Each of these formats can be harnessed and linked directly to television broadcasting to achieve liveness. These multi reality formats that have emerged in the post network era have greatly contributed to today’s methods of achieving liveness by using the internet, computer and telephony which are merged with the broadcast component to achieve new levels of liveness and eventfulness (Ytreberg 2009). Unlike in the time of the network era, audience loyalty remains a big factor in contemporary television. It therefore seems that the promise of liveness in the television industry will be around with us as far as television will go which is likely a long time to come. List of references Bourdon, J 2000, ‘Live television is still alive: on television as an unfulfilled promise’, Media Culture Society, vol. 22, pp.531-539, Viewed 24th Oct 2010, Buonanno, M 2007, ‘Stopping Time: Life Strategies in Television Narrative Seriality’, Paper presented at the annual meeting of the International Communication Association, TBA, San Francisco, Viewed 24th Oct 2010, . Couldry, N 2004, ‘Liveness, “Reality,” and the Mediated Habitus from Television to the Mobile Phone’, The Communication Review, vol.7, no.4, pp.353 – 361. Davis, W 2007, ‘Television’s Liveness: A Lesson from the 1920s’, Westminster Papers in Communication and Culture, vol.4, no.2, viewed 24th Oct 2010, . Feuer, J & Kaplan, E A 1983, ‘The Concept of Live Television: Ontology as Ideology’, Regarding Television, pp. 12-22. Kjus, Y 2006, ‘Audiences turned producers. Participation in the commercial entertainment format Idol’, Norwegian Journal of Media Studies, vol. 13, no.3, pp.220-241. Lotz, A 2007, Understanding Television at the beginning of post network era, viewed 24th Oct 2010, . Lotz, A 2008, ‘The Television Will Be Revolutionized’, Journal of Communication Inquiry, vol.32, no.3, pp.318-322. Viewed 24th Oct 2010, . McPherson, T, Chun, WHK & Keenan, T 2006, ‘Reload: Liveness, Mobility, and the Web’, New Media, Old Media: A History and Theory Reader, pp.199-208. White, M 2006, ‘Television and Internet Differences by Design. Convergence’, The International Journal of Research into New Media Technologies, vol.12, no.3, pp.341–355. Viewed 24th Oct 2010, . Ytreberg, E 2009, Extended liveness and eventfulness in multiplatform reality formats, viewed on 24th Oct 2010, . Read More