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Volume 35, #3 (2016) Centre for the Study of Communication and Culture Volume 35 (2016) No. 3 IN THIS ISSUE Studying Soap Operas Paul A. Soukup, S.J. Santa Clara University A QUARTERLY REVIEW OF COMMUNICATION RESEARCH ISSN: 0144-4646 Table of Contents Studying Soap Operas . 3 Communication Research Trends 1. Introduction . 3 Volume 35 (2016) Number 3 A. Some characteristics of soap operas . 3 http://cscc.scu.edu B. Studying soap operas . 4 C. Soap opera in popular usage . 5 Published four times a year by the Centre for the Study of Communication and Culture (CSCC), sponsored by the 2. The Life of Soap Operas . 5 California Province of the Society of Jesus. A. History . 5 Copyright 2016. ISSN 0144-4646 B. Challenges . 6 C. Following soap operas . 7 Editor: Emile McAnany D. Moving forward . 7 Managing Editor: Paul A. Soukup, S.J. 3. Watching Soap Opera Viewers . 9 Subscription: A. Characteristics . .10 Annual subscription (Vol. 35) US$55 B. Children and young people . .11 C. Audience engagement . .12 Payment by check, MasterCard, Visa or US$ preferred. D. Audiences and meaning . .13 For payments by MasterCard or Visa, send full account E. Types of viewing . .14 number, expiration date, name on account, and signature. F. Fans . .15 Checks and/or International Money Orders (drawn on 4. Studying Soap Operas . .16 USA banks; for non-USA banks, add $10 for handling) A. Overview . .16 should be made payable to Communication Research B. Genre . .16 Trends and sent to the managing editor C. Feminism . .17 Paul A. Soukup, S.J. D. Pleasure of viewing . .18 Communication Department E. Representation . .19 Santa Clara University F. Identity . .19 500 El Camino Real G. LGBT concerns . .20 Santa Clara, CA 95053 USA H. Sexuality . .21 I. Politics . .22 Transfer by wire: Contact the managing editor. Add $10 J. The production of soap operas . .22 for handling. K. Aesthetics . .22 L. Studying specific programs . .22 Address all correspondence to the managing editor at the address shown above. 5. Teaching with Soap Operas . .24 Tel: +1-408-554-5498 A. The education-entertainment model . .24 Fax: +1-408-554-4913 B. Health campaigns . .26 email: [email protected] C. Other education topics . .27 D. New directions in educational soap operas . .27 The Centre for the Study of Communication and Culture (CSCC) is an international service of the Society of Jesus 6. Research Utilizing Soap Operas . .28 established in 1977 and currently managed by the California Province of the Society of Jesus, P.O. Box 519, 7. Soap Operas Around the World . .30 Los Gatos, CA 95031-0519. 8. Conclusion . .42 References . .43 2— VOLUME 35 (2016) NO. 3 COMMUNICATION RESEARCH TRENDS Studying Soap Operas 1. Introduction Soap operas have held a place of interest both in the present. This more recent research shows one key popular broadcasting and in communication research difference: the interest in soap opera has become for over 70 years. A genre begun in the United States worldwide. This appears in the programs that people and spread throughout the world (Cox, 2005, p. 3), the listen to or watch and in communication researchers soap started on the radio in the early 1930s and proved who themselves come from different countries. itself quite an enduring and popular kind of program- A. Some characteristics of soap operas ming—radio soap operas continued broadcasting in the United States until 1960 (p. 14) and remain on the air Scholars describe the soap operas in a number of in some countries to this day. But with the development different ways: they represent a serial format with pro- of television in United States, the genre transferred to grams continuing from one day to the next; they may the new medium, with many of the same programs take the form of a series of programs; they tend to fea- adapted for television. Soap operas occupy an impor- ture similar plot lines. Each of the formats includes tant part of scheduled television programming on both continuing characters and a continuing story. Soap terrestrial and satellite distribution around the world. operas themselves often feature melodramatic story- COMMUNICATION RESEARCH TRENDS last reviewed lines, with the additional focus on the home and fami- research on soap operas over 25 year ago (Frey-Vor, ly, and appeal primarily to female viewers. Cox 1990a, 1990b) in Volume 10, Number 1 and Number 2. describes 10 storylines, beginning in the radio world The first essay offered a lengthy definition of soap that still mark soap operas: operas and telenovelas and then looked at studies 1. The woman who struggles to maintain order- focused on the content of the soap operas, on the gener- liness and provide for her [family] against ic qualities of the soap operas, and on the ways soap imposing odds . operas resembled myth or folktale. Frey-Vor (1990a) 2. The woman who faces staggering career chal- then reviewed the research that examined motivations lenges pitted against the heartrending tug of for viewing soap operas in the uses and gratifications being a wife and/or mother or sweetheart . tradition and their effects in the cultivation tradition. 3. The woman who hails from a nondescript background and marries several rungs above her She described audience characteristics, particularly of social strata . women, students, and young people. Reviewing some 4. The woman, while married, who is thrust into studies that used ethnographic methods, she then a romantic triangle . described female viewers of soap operas based on 5. A woman who attempts to successfully mod- detailed descriptions of home viewing. Finally, she erate intergenerational or second spouse con- summarized work on how audiences interpreted soap flicts that arise within a family . operas, appealing to early reception analysis. The sec- 6. A male or female protagonist who is general- ond part (Frey-Vor, 1990b) reviewed work on produc- ly recognized as a helping-hand figure, to whom tion processes, national and international media cul- everyone else appeals for problem solving, prof- ture, and soap operas for development and education. fering good-natured tips and sage advice and occasionally even assisting in bringing wrong- Three years later TRENDS (Volume 13, No. 4) returned with an update on soap operas and telenovelas doers to justice—all of this while processing acute doses of personal adversity . (Mazziotti, 1993). That brief note focused mostly on 7. Family stories in which life experiences seem reception studies and added material on soap operas to be plausible, nearer reality than in most soap from different countries and on the varied production operas . models at work. 8. Ethnic dramas with experiences, actions, and This present issue of COMMUNICATION RESEARCH dialects favoring one sect . TRENDS will focus on research about soap operas pub- 9. A man is placed in family dilemmas normally lished in the last 15 years, that is, from the year 2000 to encountered by a feminine figure, becoming the COMMUNICATION RESEARCH TRENDS VOLUME 35 (2016) NO. 3 — 3 chapter play’s hero . (and this remains part of their success even today) for 10. Characters operate against a backdrop of three key reasons: “Soaps are cheap to produce; soaps real-time action . (pp. 7–8) are effective in building audience loyalty; [and] soaps Program episodes often feature overlapping stories, are profitable for networks” (Wittebols, 2004, p. 40). with multiple characters relating in overlapping ways. The format itself has succeeded well in many Wittebols (2004) offers a brief summary of five story- countries, with, as we shall see, soap opera production telling techniques that define soap operas: in over 40 countries, representing every region of the • Seriality: A soap’s most distinguishing characteris- world. The program properties and characteristics tic is its continuity from one program to the next. described above appear (with adaptation) in almost Suspension of stories until the next episode is a every country. The dominant form today is the tele- primary element in developing audience loyalty. vised soap opera, though some countries continue with • Real-time orientation: Soaps reflect an everyday radio soap operas. The programs take different titles world in which events flow as seamlessly as pos- (soap opera, telenovela, musalsal-s) in different coun- sible to create an air of realism. This is designed to tries and, in fact, have different features although the give the audience a sense of immediacy. As they primary idea of a ongoing storyline, a melodramatic reflect the larger culture’s calendar they provide a focus on emotion, and a focus on family issues seems parallel to the viewer’s own world. to cut across all the different soap opera performances. • Seeming intimacy: This element fosters a sense of B. Studying soap opera involvement or spectatorship for the audience Communication researchers begin examining soap without actually being there. operas in the 1940s. Those early researchers, associated • Story exposition: The manner m which stories are with Paul Lazarsfeld in the Bureau of Applied Social presented to audiences allows them to gain a sense Research at Columbia University in New York, focused of omniscience by grasping the overall set of rela- on the audiences for soap operas, with attention paid to tionships in the story. the characteristics of the audiences, to the rationales for • Characteristics of the soap stories: Three sub-ele- people’s listening to and following soap operas, and to ments help define the types of themes found in the advertising potential of soap operas. This research soap operas: conflict and/or chaos/good and evil set the tone and agenda for much of what followed. characters/and generally presenting a materially Brunsdon (2000) maintains “For many years, Herta comfortable upper middle-class existence. (p. 3) Herzog’s 1944 article ‘What Do We Really Know about Each of these becomes part of the genre conventions, Daytime Serial Listeners?’, which was published with which make the soap opera both easy to produce and other articles on daytime serials by Rudolf Arnheim and easy to follow.
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