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Egoli - Plek Van Goud

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Egoli - Plek Van Goud TELEVISIE EN RESEPSIESTUDIE: 'N ANALISE VAN KYKERSINTERPRETASIE VAN DIE SEEP-OPERA EGOLI - PLEK VAN GOUD deur MAGRIETHA PITOUT voorgele luidens die vereistes vir die graad DOCTOR LITTERARUM ET PHILOSOPHIAE in die vak KOMMUNIKASIEKUNDE aan die UNIVERSITEIT VAN SUID-AFRIKA PROMOTOR: PROFESSOR P J FOURIE APRIL 1996 Opgedra aan: Franz Marx die bobaas-storieverteller in Suid-Afrika BEDANKINGS Hiermee wil ek graag die volgende persone bedank: • Prof P J Fourie, studieleier vir sy kritiese kommentaar en waardevolle leiding in die voltooiing van hierdie proefskrif • David Wigston vir sy onskatbare hulp met die formattering van die proefskrif • Chris Steinmann en Tino Pitout vir die hulp wat hulle verleen het met proeflees van hierdie proefskrif • Dorette Snyman vir die hulp wat sy verleen het met die opspoor van noodsaaklike bronne en die werwing van swart deelnemers •My eggenoot Tino en my kinders vir hulle morele ondersteuning, begrip en belangstelling • Franz Marx vir die toestaan van die persoonlike onderhoud en die toestemming wat hy verleen het om die inligting in die proefskrif op te neem. OPSOMMING Hierdie proefskrif is 'n verkennende ondersoek na kykers se interpretasie van die seep-operaEgo/i - Piek van Goud. Die basiese vertrekpunt van die studie is die teks-leserontmoeting waar gelyke status aan die boodskap ('n teks) en die ontvanger ('n kyker) gegee word. Uit so 'n ontmoeting ontstaan kykers se interpretasies. Die tweeledige ondersoek plaas die proefskrif binne die teoretiese en metodologiese raamwerk van resepsiestudie om die komplekse interaksie tussen 'n teks en die ontvanger te ondersoek. Die twee komponente word binne spesifieke historiese en kulturele kontekste geplaas, te wete die veranderende politieke en ideologiese klimaat in Suid-Afrika asook die sosio-kulturele en politieke kontekste van die deelnemers. Die deelnemers van hierdie studie is groepe bruin-, swart- en witvroue. Groeponderhoude (fokusgroepe) is met ses groepe vroue tydens hul etensuur by die werkplek gevoer. Die onderhoude is rondom die volgende temas gestruktureer: romanse, identifikasie, parasosiale interaksie, sosiale interaksie, intertekstualiteit en Egoli as 'n forum vir die uitbeelding van Suid-Afrikaanse werklikhede. Kykers se interpretasie van die temas is ontleed aan die hand van referensiele, onderhandelde en kritiese interpretasierame. Daar is gevind dat die verskillende kultuurgroepe in 'n groat mate dieselfde interpretasierame gebruik in hul interpretasie van die verskillende temas. Die opvallendste verskil tussen die groepe is die wyse waarop die deelnemers die tema Egoli as 'n forum vir die uitbeelding van die Suid­ Afrikaanse werklikhede vertolk: as gevolg van verskillende sosio-kulturele en politieke omstandighede in Suid-Afrika het die deelnemers waarskynlik interpretasierame ontwikkel wat aan daardie omstandighede gekoppel kan word. In die studie is aangetoon dat die hermeneutiek en resepsieteorie nuttige verklarings gee van die elemente in die seep-operateks wat kykersbetrokkenheid stimuleer en die proses van interpretasie. Die proses verloop soos volg: deelnemers het bepaalde verwagtings oor 'n program; hulle moet die uitgebeelde werklikheid(e) herken en die boodskappe dan toe-eien. Hierna word boodskappe 'n kultuur binnegedra deur middel van sosiale diskoers. Die teoretiese onderbou het voorts aan die lig gebring dat deelnemers se interaksie met en interpretasie van Egoli 'n vorm van spel is. Empiriese bewyse is gevind dat die deelnemers op speelse wyse • oor karakters 'skinder'; • spekuleer oor romantiese assosiasie; • met karakters identifiseer; en • parasosiale verhoudings met karakters aanknoop. SUMMARY This thesis is an exploratory study of viewers' interpretation of the soap opera Egoli - Place of Gold. The basic point of departure is the text-viewer encounter where equal status is given to the message (text) and the recipient (viewer). Viewers' interpretations develop from this encounter. This dichotomous investigation places the thesis within the theoretical and methodological framework of reception study where the complex interaction between a text and the recipient is examined. The two components are placed within specific historical and cultural contexts, namely the changing political and ideological climate in South Africa, as well as the socio-cultural and political contexts of the participants. The groups participating in this study consisted of coloured, black and white women. Six group interviews (focus groups) were held with these women during their lunch-hour at the workplace. The interviews were structured around the following themes: romance, identification, parasocial interaction, social interaction, intertextuality and Egoli as a forum for the portrayal of South African realities. Viewers' interpretations of these themes were analysed according to referential, negotiated and critical interpretative frames. It was largely found that the various cultural groups use the same interpretative frames to interpret the various themes. The exception was the way participants interpreted Egoli as a forum for the portrayal of South African realities: because of different socio-cultural and political circumstances in South Africa the participants may have developed interpretation frames that could be linked to these circumstances. Hermeneutics and reception theory provide useful explanations of these elements in a soap opera text that stimulate viewers' involvement and the process of interpretation. This process proceeds as follows: participants have specific expectations regarding a programme; they must recognise the realities depicted and then appropriate the messages. Thereafter messages are incorporated into a culture by means of social discourse. A further important theoretical finding was that the participants' interaction with and interpretation of Egoli takes the form of play. It was empirically determined in this study that participants playfully • speculate about romantic association; • engage in gossip about characters; • identify with characters; and • develop parasocial relationships with characters. INHOUDSOPGAWE HOOFSTUK 1 VOORWOORD . 1 1.1 INLEIDING . 1 1.2 BEHOEFTE AAN DIE STUDIE . 5 1.3 AFBAKENING EN OMSKRYWING VAN DIE ONDERWERP . 7 1.4 NA VORSINGSVRAE . 9 1.5 DOELSTELLING . 10 1.6 METODOLOGIE . 11 1.7 TEORETIESE FUNDERING VAN DIE STUDIE . 14 1.8 DIE STRUKTUUR VAN DIE PROEFSKRIF . 15 HOOFSTUK 2 'N OORSIG VAN DIE TELEVISIESEEP-OPERA AS GENRE 2.1 INLEIDING . 17 2.2 DIE ONTSTAAN VAN DIE SEEP-OPERAGENRE . 18 2.3 PROBLEME RONDOM DIE OMSKRYWING VAN DIE SEEP­ OPERAGENRE . 18 2.4 GENERIESE KONVENSIES VAN DIE SEEP-OPERA . 24 2.5 ANALISE VAN KARAKTERS IN EGOLI . 36 2.5.1 Argetipes . 37 (a) Die jong, weerlose, romantiese he/din . 37 (b) Die romantiese held (Mr Right) . 38 (c) Die vroulike mededingerlantagonis . 39 (d) Die aartsskurk . 39 (e) Die welwillende, liefdevolle moeder/ouma . 39 (j) Die gesinsmanlpatriarg . 40 (g) Die bemoeisieke en gemene moeder . 40 (h) Die beroepsvrou . 40 11 (i) Aspoestertjies . 40 (j) Die 'bekeerde, misdadiger . 40 2.5.2 Evaluering . 41 2.6 SAMEVATTING ..................................... 41 HOOFSTUK 3 DIE SEEP-OPERA: 'N PRODUK VAN POPULeRE KULTUUR 3.1 INLEIDING . 43 3.2 EGOLI AS 'N KULTURELE FORUM ...................... 44 3.3 HOe, POPULeRE EN MASSAKULTUUR: TEORETIESE PERSPEKTIEWE . 46 3.3.1 Politieke perspektief . 46 3.3.2 'n Post-modernistiese perspektief . 48 3.3.3 'n Kapitalistiese perspektief . 50 3.4 STRUKTURELE TWEEDELING VAN DIE KULTURELE TERREIN: POPULeRE EN MASSAKULTUUR . 53 3.5 IDEOLOGIE EN STEREOTIPES . 57 3.6 SAMEVA TTING . 64 HOOFSTUK 4 TEORETIESE BENADERINGS EN NA VORSINGSMETODES IN DIE BESTUDERING VAN DIE SEEP-OPERAGEHOOR 4.1 INLEIDING . 65 4.2 TEORETIESE BENADERINGS IN GEHOORSTUDIES . 66 4. 2.1 'n Kort historiese oorsig van die bestudering van televisiegehore in televisiestudie . 66 (a) White (1994) . 67 (b) Lindlof (1991) . 68 (c) Jensen en Rosengren (1990) . 69 (d) Hotjer (1992) . 70 Ill (e) Evaluering . 71 4.2.2 Begrippe van die hermeneutiek en resepsieteorie . 72 4.2.3 Navorsing oor die seep-operagehoor . 79 4.2.4 Evaluering . 80 4.2.5 Ten slotte . 80 4.3 KW AL IT AT I EWE NA V 0 R S ING SMET 0 D E S IN GEHOORSTUDIES ................................... 82 4.3.1 Historiese oorsig . 82 4.3.2 Die etnografie in kommunikasienavorsing . 86 4.3.3 Kritiek teen die gebruik van gehooretnografie . 88 4.3.4 Evaluering ..................... ·. 95 4.3.5 Gevolgtrekking . 98 4.5 SAMEVATTING ..................................... 100 HOOFSTUK 5 METODOLOGIE: 'N NARRATIEWE MODEL VIR BOODSKAPANALISE 5.1 INLEIDING ........................................ 101 5.2 KWANTITATIEWE INHOUDSONTLEDING ................. 102 5.3 STRUKTUREEL-SEMIOLOGIESE METODES ................ 102 5.3.1 'n Narratiewe model .............................. 103 5.3.2 Kykers se herroep van die narratief .................... 111 5.3.3 Sintagmatiese en paradigmatiese analise van die narratief ..... 115 5.3.4 Vlakke van betekenis ............................. 117 5.3.5 Egoli as 'n kulturele forum vir morele kwessies ........... 120 5.4 SAMEVATTING ..................................... 121 HOOFSTUK 6 DIE NA VORSINGSONTWERP VAN DIE EMPIRIESE GEHOORSTUDIE 6.1 INLEIDING ........................................ 123 lV 6.2 DIE AKTIEWE GEHOOR EN SOSIO-KULTURELE KONTEKS VAN TELEVISIEKYK ................................. 124 6.2.1 Die aktiewe ontvanger ............................. 124. 6.2.2 Die sosio-kulturele konteks van televisiekyk . 125 6.3 NA VORSINGSONTWERP EN PROSEDURE ................. 127 6.3.1 Keuse van
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