Title: Spotlight on Popular Culture (Reality Television Genre) – Part 2: Social Surrogacy

Author: Kate Thompson, Aurora College

Area of Study: Popular Culture

Information about this resource: This is the second section of a four- part series (Part 1 featured in Culture-Scope Vol. 109 and discussed the creation and development and, the role of mythology in the creation and perpetuation of the genre). See table below for information regarding Part 2: Social Surrogacy.

Contemporary context The following points are to be integrated across the study of Popular Culture: • use examples drawn from contemporary society • assess the impact of technologies, including communication technologies, on popular culture • examine a contemporary issue in popular culture using the research method of content analysis. Focus study Students are to examine ONE popular culture that conforms to the distinguishing characteristics and has a global acceptance by examining: the creation and development of the popular culture: • the origins of the popular culture • the development of the popular culture from a local to a global level • the process of commodification for the popular culture • the role of mythology in the creation and perpetuation of the popular culture • continuities and changes to the popular culture the consumption of the popular culture: • the consumers of the popular culture and the nature of its consumption • the relationship of heroes and mythology to media and consumption • how globalisation and technologies have influenced consumption • the relationship of access and consumption to age, class, ethnicity, gender, location, sexuality • how consumption and ownership of paraphernalia influence a sense of identity

The consumption of reality TV

Consumers of reality TV Television is such a pervasive phenomenon in families today 1 and has remained the major form of entertainment and source of news for some time now. People spend 43 percent of their media time with television, watching on average 21.5 hours per week (100 hours per month in 2012). This compares to 14.2 hours for radio, 10.7 hours for the internet, 3.3 hours for newspapers and 1.7 hours per week for magazines.

The figures echo OzTAM and regional TAM official ratings data that show in 2008 Australians on average spent 3 hours 8 minutes a day watching television in metropolitan markets, and 3 hours 21 minutes a day in regional markets. Since 2000 the proportion of this time spent watching reality programs is likely to have increased as scheduling sequences have become saturated during prime time.

Time spent viewing, regardless of time of day or gender, increases steadily from the age of 25 with people aged 65+ being the biggest consumers of television across the board. With the exception of the 0–13 and 14– 17 age groups, women spent more time in 2011 viewing free-to-air television in the evenings (6pm– midnight) and daily (2am–2am) than men in both metropolitan and regional markets.

Average daily viewing in regional markets was stronger (3:13 hours) than metropolitan markets (2:51 hours). Evening viewing was also strongest in regional markets as well (1:51 hours), although by a narrower margin (metropolitan viewing 1:43 hours)2.

Like many other popular cultures, the target market of reality TV is the younger demographic. This was particularly the case for Big Brother leading viewers in the 5 – 49 age bracket. The median age for viewers was 30 years old and 80% of the audience was over 15. Older viewers don’t really like reality shows as much as younger viewers, yet they are needed to deliver larger audiences to advertisers. Border Security most the popular reality TV program with those aged 50 – 64 years at the time of an ACMA survey in 2007.3 Gender and strength of religious belief were not relevant in predicting whether a person was likely to watch reality television or not. But all viewers tended to be ‘flighty’, meaning they will look one TV program and decide to move on quickly.4

Activities

1. Identify the consumers of The Bachelor, The Block and/or MasterChef. 2. Television is considered a pervasive phenomenon – do you think reality TV is considered that too? Provided reasons for your answer. 3. Provide reasons you think older people like reality shows such as Border patrol. 4. Examine the pie graph and construct another two predicting what the proportions will look be in 2015 and 2020. 5. Design and administer a questionnaire to determine your class’s consumption of reality TV. Graph your results and analyse your finding. Use an online survey tool such as surveyplanet.

1 Christopher et al (1989) ‘Family Television Viewing: Implications for Family Life Education’ in Family Relations, National Council on Family Relations, Vol. 38, No. 2, pp. 210-214 2 Screen Australia, Audio Visual markets – Television accessed on 13/3/13 at URL http://www.screenaustralia.gov.au/research/statistics/tvviewingftv.aspx 3 ACMA (2007) Reality Television Review: Volume 1, Final Report’, Australian Government, March 30 4 Brown, M. (2004) ‘The truth behind reality TV’ in The Guardian, May 31 2004 The nature of reality TV consumption It is widely accepted that children under 5 years may confuse fiction and reality on television. For adults, thinking processes and memories may also be affected by the media as the lines between the real world and reality shows becomes blurred. Adult perceptions of reality are also based on what could have happened. Many adults will consider a situation real if the scenario is plausible and if it follows a logical sequence.5 Some viewers subconsciously activate a ‘suspension of disbelief’ and immerse themselves in the action or storyline as it develops. This causes them to forget the participants are surrounded by camera crew, sound crew, setting technicians and directors. But adults must remain aware that reality TV series such as Survivor, Amazing Race and My Kitchen Rules are created and highly edited to attract the most viewers possible.6

Audience interactivity with program content extends the traditional ‘lean back’ experience of television viewing into a more active ‘lean forward’ activity through computer technology. 7 According to one researcher, the audiences tend to progress through several stages when following reality programs8 (refer to diagram).

Stages of interactivity when engaging with reality TV

Sequential Simultaneous activities Merged activity experience (watch a (interact online program then (watching and while watching interact with interaction in 1 2 program on TV 3 content online) the same medium)

Illusionary relationships with the characters and personalities on consumers’ favourite TV shows, including reality TV, can provide those people with feelings of belonging. This is known as social surrogacy – meaning humans can use technologies like television to satisfy their experience of belonging when in real life, this hasn’t happened. 9 This theory claims that when people may have low self-esteem or have been rejected by friends and family they are able to turn on the television and feel better about themselves and their life. Research by the University at Buffalo and University of Ohio found evidence for this hypothesis but questioned, does TV suppress feelings of belonging or does it actually fulfil them? The answer may be suppression, although social surrogacy is considered a poor substitution for real human interaction.

Cognitive priming is another process that can take place whilst consuming TV. Such grooming of the brain means the aggressive ideas seen in violent scenes have the ability to activate other aggressive thoughts in

5 Pitner, S. (2009) ‘How Media constructs Reality Television shows: do they depict real life or fiction?’ accessed via Media Literacy Suite on 27/10/10 at URL http://www.suite101.com/content/how-media-constructs-reality-television- shows-a98159 6 ibid 7 Baltruschat, D. (2009) Reality TV formats: the case of Canadian Idol’ in Canadian Journal of Communication 34(1) pp 41 – 59 accessed on 18/3/13 at URL http://www.u.arizona.edu/~karaj/GPSC/Wk1CanadianJournal.pdf 8 Murray (1997) in Baltruschat, D. (2009) Reality TV formats: the case of Canadian Idol’ in Canadian Journal of Communication 34(1) pp 41 – 59 accessed on 18/3/13 at URL http://www.u.arizona.edu/~karaj/GPSC/Wk1CanadianJournal.pdf 9 Author unknown (2009) ‘A warm TV can drive away feelings of loneliness and rejection’ in Psychology and Sociology, April 22 accessed via E-Science News at URL http://esciencenews.com/articles/2009/04/22/a.warm.tv.can.drive.away.feelings.loneliness.and.rejection viewers. 10 When one thought is activated, other thoughts that are strongly connected through their association in memory pathways are also activated. Immediately after a violent film, the viewer is primed to respond aggressively because a network of memories involving aggression is retrieved. Therefore if this theory was to be applied to anti-social or negative behaviours consistently evident in reality TV, programs such as Real Crime, would those consumers with high levels of consumption have a higher potential to behave in a negative manner?

Some people see the social value in self-improvement reality TV programs such as The Biggest Loser, Jamie’s Kitchen and The Apprentice but at the same time tend not to take programs too seriously.11 It is noteworthy, that many respondents to an ACMA survey were surprised at the nature of reality TV participants, specifically how good-humoured and resilient they were.

The success of reality TV is dependant to some extent on what is known as schadenfreude. This is a German term with no English equivalent, meaning to seek enjoyment from others misfortune or humiliation. It is particularly evident on reality talent search shows such as Australia’s Got Talent, Australian Idol, So You think You Can Dance and X-Factor where audition bloopers, performance mishaps, hideous pitches, woeful routines and other embarrassing moments are filmed and broadcast purely for viewers’ enjoyment and satisfaction in order to boost ratings.

But what is it that consumers like about reality TV? Is it really because there’s an element of schadenfreude or is there more to it? An ACMA study in 2007 surveyed 702 people about what they enjoy most when watching reality television and found that most people (23%) stated ‘nothing’. It should be noted that such a response is different to an inability to identify what exactly it is they like. This indicated an appeal to consumers about the everyday nature of reality TV content. While some find it entertaining (20%), others liked the use of real people (14%) and the ability to promote inspirational or positive values (9%).

A key component of consuming reality TV is voyeurism. By watching other people closely a degree of intrigue sets in. As the anonymity of the viewer contrasted with the intimate and personal portrayals of the participants grows further apart, so do notions of reality, blurring the distinction between what is acceptable and what is not, what is right and what is wrong. The long terms effects of developing a surveillance type culture have not yet been documented. Are we seeing voyeurism on a macro scale? Will it lead to real invasions of privacy or worse, moral decay?

Whilst watching reality TV we all either consciously or sub-consciously engage in a process of self- comparison. We select people who are better than us (though not by much) and compare our outcome to theirs – we call this upward comparison. Research has frequently examined this process in schools. Students who downward compare, seeking to feel better because “at least I didn’t do as bad as _____ on the exam” actually did worse on later exams. Those who do upward comparisons, however, end up doing better. What does this all mean? While upward comparisons are useful in terms of self-improvement, downward comparisons make us feel good about ourselves. This has implications for who we become close to and how we treat our friends when they succeed. We often celebrate the accomplishments of our friends – but not when they are in a domain that we think is our specialty.

Finally, when audiences watch reality TV they are not only watching for entertainment, they are also engaged in critical viewing of the attitudes and behaviour of ordinary people in the programs and the ideas and practices of the producers and consumers. Constantly questioning authenticity of such behaviours has been documented in reality TV studies by Catherine Lumby at the University of Sydney.

10 Berkowitz (1984) in Felson, R. (1996) ‘Mass Media Effects on Violent Behaviour’ in Annual Review of Sociology, Vol. 22, pp. 103-128 11 ACMA (2007) Reality Television Review: Volume 1, Final Report’, Australian Government, March 30

Activities

1. Outline what is meant by the term ‘suspension of disbelief’. 2. Critique the theory of social surrogacy. 3. Is cognitive priming a legitimate excuse for violence? Why/why not? 4. Define voyeurism. Is this a positive or negative cultural trait? 5. Have you changed your viewing habits of reality TV? Use personal reflection to analyse your own levels of self-comparison with reality TV contestants. 6. Watch a few episodes of different reality TV programs (particularly the auditions in talent search shows). Comment on the extent of ‘schadenfreude’ evident throughout. Do more successful programs eliminate this ‘schadenfreude’? 7. How has reality television contributed to your socialisation?

The relationship of heroes and mythology to media and consumption of reality TV Reality TV creates a number of myths, in particular the myth that fame and money bring happiness. Winners of Idol and X-Factor have guaranteed short term success with record deals. Why does reality TV have such an enormous following? Do we love watching others being humiliated and deprived? Or is it simply just because we think ‘that could be me’?

Contestants are carefully hand-picked from thousands of applicants and branded by things such as their occupation such as in the case of Survivor, The Bachelor and The Apprentice, every time they are interviewed. It also allows the viewer to stereotype the typical carpenter, waitress or lawyer for example, and judge their comments or behaviours according to a predetermined standard in the viewers mind.

The internet’s increasingly global culture means TV struggles to match the internet’s ability to tell culturally specific stories. Yet culture is crucial to consider when distinguishing between fantasy/ reality distinctions. "Truth varies across acceptable social groups and ... essentially the same belief can be judged as a delusion or a non delusion depending on the social conditions of the believer.... Different epistemologies yield different facts, different truths, different realities"12

Gendered images circulate in society through many institutions and reality TV is no exception. Footage is strategically edited to portray some people as the stereotypes that producers would have them represent. Regardless of the program genre, women are portrayed as being weak, highly emotional, nags and helpless during problematic times. In the same way, men are often portrayed as overly masculine, violent and aggressive.

Stories and characters often take on a life of their own and give rise to fads and fans in the ‘real’ world. Feminists have criticized prevailing cultural constructions of women as victims.13 On television, women and children are depicted as being vulnerable to criminals, who are usually men. In 2013 My Kitchen Rules on the Seven Network was accused of portraying people from an ethnic background as villains. 14

12 Taylor, M. (1997) The Role of Creative Control and Culture in Children's Fantasy/Reality Judgments’ in Child Development, Blackwell Publishing Vol. 68, No. 6, pp. 1015-1017 13 Cavendar et al (1999) ‘The Construction of Gender in Reality Crime TV’ in Gender and Society, Sage Publications, Vol. 13, No. 5, pp. 643-663 14 Vickery, C (18/2/13) My Kitchen Rules is not racist, says Channel Seven, News Limited Network accessed via URL http://www.news.com.au/entertainment/television/my-kitchen-rules-is-not-racist-says-channel-seven/story- e6frfmyi-1226580346334#ixzz2Mc1KHH4X Now, try to answer the question below from the 2012 HSC exam paper. Marking guidelines can be found on the BOSTES website.

Heroes refers to the portrayal of characters with sound values and high morals. They triumph over evil, save others from peril, have power and are in control of the situation. In series like Survivor this is certainly the case. Careful editing builds a picture about participants where snippets of comments out of context, a ‘look’ and good or bad actions are played over and over again just to get viewers hooked for the following week, therefore increasing consumption and profit. And viewers fall for it time after time.

Some people do ‘live on’ as the term heroes connotes. As one researcher puts it, ‘wanna be celebrities could build a platform from which to launch an entirely new career. Year after year we saw season after season of these hopefuls become more and more strange and needy, vying for our attention, with their career prospects after the show becoming bleaker every time. ’15 Interestingly though, some reality TV stars are famous for doing nothing...they’re just famous. However, some reality TV contestants have been rather successful and continue to be in the public eye. For example:

• Blair McDonough from Big Brother was cast in Neighbours • Johnny Ruffo from X-Factor was cast in Home and Away • Trevor Butler from Big Brother got a job at a Gold Coast radio Station • Guy Sebastian from Australian Idol has enjoyed continued success and prominence plus became a judge on X-Factor • Jessica Mauboy from Australian Idol played a lead role in the movie The Sapphires

The Voice was a unique approach to a reality program where searching for talent was purely based on a contestant’s voice rather than their age and appearance. Judges decided on which contestants made ‘the cut’ through blind auditions where appearance was ignored. This dispelled myths about people and why they were selected (i.e. on the basis of talent alone) and most viewers appreciated the honesty and fresh approach.

There is one truth that pervades all TV - good is equated to beauty and evil to ugliness, and that fame and money bring happiness.

Activities

1. Distinguish between mythology and heroes. 2. Would a reality show work if each character was a counter-stereotype? 3. Do you believe reality TV shapes ethnic images? Explain 4. Outline the myths as portrayed on reality TV about different genders and different professions. 5. Explain how ‘The Voice’ attempted to avoid stereotyping contestants.

The media is a powerful player in propagating television. Mass media, and television in particular, have become a major agent of socialization in modern society. Values, attitudes and beliefs can be developed in

15 Higgins, C. (2009) Reality TV – a noughties phenomenon: How voyeur television took over the 2000s’ accessed via Media Literacy Suite on 27/10/10 viewers as they follow their favourite programs. The most watched weekly television in 2009 in Australia was Packed to the Rafters which attracted 2 million viewers and the Biggest Loser which had 1.7 million for the 2009 final.16 Now the most popular shows are My Kitchen Rules and The Block which regularly attract over 1 million viewers each episode. But does this mean the depicted interactions and values from these programs are adopted into people’s lives? If so, as a society, we’d want some positive values and progressive themes to shine through... in fact, all forms of the mass media strongly emphasize traditional gender roles.

But perpetuating conflict is one of the easiest and most cost effective methods media can use to entice the ‘grazers’ to watch. Grazers are those people who constantly flick channels using the remote control device so they actually ‘watch little, but see lots’. It’s a very post-modern type of behaviour where a barrage of images is the experience.

The media deliberately directs grazer’s attention to novel forms of violent behaviour they might not otherwise consider. There are even documented cases in which bizarre events on television are followed by similar events in the real world; the similarities seem too great to be coincidental. In addition, hijackings and political violence tend to occur in waves.17

The news media even reports on reality TV shows and the controversy created by contestants. One example is that of a gay contestant who ‘came out’ on Big Brother and was subsequently the subject of Australian Story, aired 1 November, 2010. Auditions for reality TV shows are also advertised in print media, as well as on television, radio and websites. They promise interested youth a slice of their celebrity dream.

News media emphasises information through a quick-paced and highly repetitive news anchor presentation. Additional information is also readily available through flashy text scrolling simultaneously at the bottom of the screen. Furthermore, quick segues to supplemental video or satellite footage is often accompanied by colourful graphics and sound effects.18 Reality TV programs have adopted some of these attention-grabbing techniques to generate and maintain consumer interest. The barrage of images from different camera angles, the used of music and montages are evident in programs such as Big Brother, Farmer wants a wife and Australian idol.

The media, and television in particular, distorts knowledge about the dangers and threats present in the real world, creating unrealistic fear19. The continual representation of traumatic events, in reality programs such as NT Cops and RPA can serve to create an underlying sense of fear in viewers about medical conditions and safety respectively.

Research shows that heavy television viewers are more distrustful of others and overestimate their chances of being criminally victimized. 20 This notion that television viewing fosters a distrust of others and a misconception of the world as dangerous has been referred to as the cultivation effect.21 This principle can be applied to reality TV programs such as Border Security, The Mole and Cheaters where participants are viewed with a harsh degree of scepticism, ultimately being accused of not behaving in a genuine manner that is beneficial to others.

Activities

16 Idato, M. (2009) ‘TV facing its own diet’ in Sydney Morning Herald, Weekend Edition, May 2-3, 2009 17 Felson, R. (1996) ‘Mass Media Effects on Violent Behavior’ in Annual Review of Sociology, Vol. 22, pp. 103-128 18 Forgette, R. and Morris, J. (2006) ‘High-Conflict Television News and Public Opinion’ in Political Research Quarterly, Sage Publications, Vol. 59, No. 3, pp. 447-456 19 Bandura (1983) in Felson, R. (1996) ‘Mass Media Effects on Violent Behavior’ in Annual Review of Sociology, Vol. 22, pp. 103-128 20 Felson, R. (1996) ‘Mass Media Effects on Violent Behaviour’ in Annual Review of Sociology, Vol. 22, pp. 103-128 21 Gerbner & Gross (1976) in Felson, R. (1996) ‘Mass Media Effects on Violent Behaviour’ in Annual Review of Sociology, Vol. 22, pp. 103-128

1. What is meant by media? What does the mass media encompass? 2. Analyse ways in which the media affect consumption of reality TV. 3. Outline the theory of post-modernism. 4. To what extent (i.e.: assess) can post-modernism explain continuities or changes in consumption of reality TV? 5. Provide examples of the media perpetuating conflict to ensure reality TV viewers tune in to watch. 6. Debate the following statement: The media (via reality TV) is solely responsible for creating unrealistic fear. 7. Investigate the cultivation effect. Elaborate upon the effects of reality TV on viewers, according to this effect (note any positive effects too)

Now, try to answer the question below from the 2015 HSC exam paper by thinking about one of the distinguishing characteristics of the pop culture being closely associated with commercial products and paraphernalia. Marking guidelines can be found on the BOSTES website.

How globalisation and technologies have influenced consumption

Synergies between television and the Internet have brought about innovative ways of considering the role of audiences and amplifying the reception of programs. Interactive technologies have transformed (and will continue to do so) the way television communicates with the audience and also increased the opportunities for audience feedback and engagement with programs. Reality shows are increasingly produced bearing in mind their online distribution, with spectators turned into users who are able to interact more intensively.22 The progression and integration of technologies has enable broader and richer access to reality TV for consumers. Viewers are part of a new interactive audience who want to have a say in the outcome and who see digital content as integral to the viewing experience. Much of this happens via hand held devices.

These developments have been labelled social television, for they allow remote viewers to socially interact with each other via the television set, smart phones, tablets or the PC, where viewers might be separated in time and/or in space.23 Features in social TV include remote talking or chatting while watching a television program, content-aware lists that show what your friends are watching, sharing and recommendation of video material based on social network statistics and trends, and easy accessible Twitter streams associated with a particular program.

22 Deery (2003) in Garcia-Aviles, J (2012) ‘ Roles of audience participation in multiplatform television: From fans and consumers, to collaborators and activists’ in Journal pr Audience and reception studies , Universidad Miguel Hernández, Spain, vol 9(2) Accessed 5/3/13 at URL http://www.participations.org/Volume%209/Issue%202/24%20Garcia-Aviles.pdf 23 Cesar and Geerts (2011) in Garcia-Aviles, J (2012) ‘ Roles of audience participation in multiplatform television: From fans and consumers, to collaborators and activists’ in Journal of Audience and reception studies Universidad Miguel Hernández, Spain, vol 9(2) Accessed 5/3/13 at URL http://www.participations.org/Volume%209/Issue%202/24%20Garcia-Aviles.pdf Social television constitutes a fundamental shift in how people interact and socialize around audio-visual content. Websites are combining video streaming services with social networking sites such as Facebook and Twitter. Branding is consistent across such web 2.0 sites and all accounts are integrated to provide consumers with seamless interaction and updates from a variety of technological devices. These changes also led to reinventing the very concept of audience24. The Web 2.0 opened up unprecedented opportunities for more inclusive public engagement. In the meantime, use of the internet enhances viewing experiences of viewers in two main ways:25

1. Collating votes for example in X Factor, Big Brother and Australian Idol. Allows viewers to vote for their favourite contenders, allowing for a more diverse range of audiences to participate 2. Relay information and provides extra information to those interested for example Survivor, one of the highest rating reality shows in the world, were able to watch the progress of ‘All Stars’ votes cast by members of the general public.

Most voting shows should be regarded as commercial transactions, where presenters behave like ‘sellers’ who exhibit a persuasive rhetoric, which seeks to engage viewers en masse26. It includes the use of sites associated with the programs, where fans might engage in lively chat discussions and forums such as Zeebox and Fango. Hosts then integrate real time results of opinion polls and comments into actual TV content.

There are also initiatives to support the production of a program financially with donations or with crowdfunding, which allows people to sponsor broadcast projects, obtaining in return several advantages27.

Activities

1. How is broad access to reality TV assisted by media and communication technologies? 2. Outline the features of social television. 3. Explain how technology has improved viewers’ interaction with reality TV 4. Comment on how you think synergies between different technologies, branding and reality programs will impact the consumption of reality TV.

Now, try to answer the question below from the 2014 HSC exam paper. Marking guidelines can be found on the BOSTES website.

24 Garcia-Aviles, J (2012) ‘ Roles of audience participation in multiplatform television: From fans and consumers, to collaborators and activists’ in Journal of Audience and reception studies, Universidad Miguel Hernández, Spain, vol 9(2) Accessed 5/3/13 at URL http://www.participations.org/Volume%209/Issue%202/24%20Garcia-Aviles.pdf 25 Barton, L. (2004) ‘Reality TV and its use of the Internet’ from Encyclopaedia of New Media accessed 27/10/10 at URL http://wiki.media-culture.org.au 26 Nightingale and Dwyer (2006) in Garcia-Aviles, J (2012) ‘ Roles of audience participation in multiplatform television: From fans and consumers, to collaborators and activists’ in Journal of Audience and reception studies, Universidad Miguel Hernández, Spain, vol 9(2) Accessed 5/3/13 at URL http://www.participations.org/Volume%209/Issue%202/24%20Garcia-Aviles.pdf 27 Carvajal et al., (2012) in Garcia-Aviles, J (2012) ‘ Roles of audience participation in multiplatform television: From fans and consumers, to collaborators and activists’ in Journal of Audience and reception studies, Universidad Miguel Hernández, Spain, vol 9(2) Accessed 5/3/13 at URL http://www.participations.org/Volume%209/Issue%202/24%20Garcia-Aviles.pdf

The relationship of access and consumption to age, class, ethnicity, gender, location, sexuality Access to all popular cultures is widespread however, some groups of people experience difficulties in identifying popular cultures because they are targeted to appeal to the majority of people in order to make maximum profit. So, those in minority groups, rural or regional areas, the elderly for example may not be able to access reality TV due to either not being the target market, technological or geographical restrictions, class based focus etc.

The Australian Communications and Media Authority (ACMA) is a statutory authority within the federal government portfolio of broadband, communications and the digital economy. ACMA aims to increase the diversity of broadcasting services, and provide audiences with better access to those services. The ownership and control rules regulate for diversity of control to promote diversity of views, 28 therefore increasing the ability of a greater range of people to access and identify with television for example.

Television is widely accessible however issues do arise. Reality shows have deliberately represented people from different minority groups in Australia. Perhaps this could be viewed as a positive step towards a unified and truly multi-cultural, non-discriminatory nation but cynics would suggest otherwise...minority groups are there to increase the number of viewers and ultimately profit in this commercial activity.

When screening, participants are carefully selected, there is no shortage of applicants, although there are significantly younger people because reality TV appeals to that age group. Approximately 10 000 people applied for the 2007 season of The Biggest Loser in Australia. Of those 400 were interviewed and 14 were selected. They are selected to serve the end of the production, which is to entertain. Participants are selected for their potential interest to the viewing public, which may be further manipulated by putting them in specific circumstances or setting certain challenges29

MasterChef has gone out of its way to showcase female talent in both contestants and experts. In an effort appeal to the maximum number of viewers possible, gender has been targeted as a strategic issue. Of the 50 people who successfully auditioned for the second series, 25 were women and 11 were among the final 24. On the expert side 10 of the 45 award-winning chefs were women – this is still a little above what actually occurs in the restaurant business where 8 out of 55 ‘chefs hat’ restaurants in NSW were women. Access for women in the industry has improved due to the set up of a steering committee to implement ‘Tasting Success’ mentoring program for female hospitality students at the Sydney Institute.30

Similarly, access to reality TV based on sexuality and ethnicity has also attracted attention. Finalists in 2009 MasterChef reflected the melting pot that is Australia with two gay contestants, three Asians and two were disillusioned lawyers who wanted more. They represented a shift in social trends, evident before MasterChef, but crystallised by the show. Had MasterChef been produced 30 years ago it would have been very different – there would be a notable absence of Asian cuisine, and no coining of the phrase ‘plating up’. In 1980 gay contestants would not have made their sexuality public as homosexuality was not legalised in NSW until 1984. Nobody blinked when a contender, Courtney Roulston spoke about being a lesbian. In 2001 Big Brother made a big deal of its first gay housemate Johnnie Cass.31

28 ACMA Broadcasting ownership and control, access on 11/3/13 at URL http://www.acma.gov.au/WEB/STANDARD/pc=PC_91734 29 ACMA (2007) Reality Television Review: Volume 1, Final Report’, Australian Government, March 30 30 Greenwood, H. (2009) ‘Reality TV? Chefs still mostly masters’ in Sydney Morning Herald, Weekend Edition, July 24- 25, 2010 31 Feneley, R. (2010) ‘The melting pot that is modern Australia’ in Sydney Morning Herald, Weekend Edition, July 24- 25, page 4 Queer Eye for the Straight Guy used homosexuality to celebrate the style, cleanliness and culinary expertise of the gay community in an effort to assist heterosexual men in improving the quality of their life and relationships. Programs such as this, target non-mainstream groups and increase consumption as a result.

Producers of reality TV program and a television network develop a strategy to increase profit

Auditions begin and a number of people from different minority groups are selected and then represented on the reality TV program

The number of viewers from those minority groups increases because they can identify with the participants/contestants. Viewers can develop pride in the representation of like-minded people

Marketing companies invest in ads to be aired during the reality TV show due to increased viewers and aim to satisfy their target market

Increased revenue stream for advertisers because their product / service has been seen by millions of people (thousands of whom act upon their wish to have the product / service) and TV networks benefit from further advertiing deals

Figure: Access for different groups of people via reality show auditions

The Special Broadcasting Service (SBS) also receives funding which means each of it is accountable to the government for content and political messages aired. SBS was established by the Commonwealth government in 1978 aiming to reflect the multicultural nature of Australian society by providing multilingual services. It is mandated to cater for audiences with specialised ethnic, religious or other needs, therefore increasing access and consumption.

Location affects access to television. Poor reception in rural areas diminishes the quality of the product. The federal government has used funds from the sale of Telstra to fund part of the Black Spots program where some communities have been provided with upgraded services or an ability to watch free-to-air television for the first time. Although a switch to digital television was supposed to improve access, residents in far north Queensland have been negatively affected. Upset viewers report intermittent breaks, pixilation, loss of sound and blue screens during their favourite TV shows on ABC, SBS, Seven, Nine and Ten32 – many of which are reality TV programs.

It should also be noted that The Biggest Loser used location to increase consumption. It gained support for changing lives – first on a micro level where it focussed on individual competition and subsequently introduced couples and families to the show in later seasons. Then in recent years, it has adopted the support of entire communities and towns where unhealthy weight is an issue. So, not only is one entire town ‘on board’ supporting, participating and/or watching but locations (towns or communities) with similar demographic profiles are able to empathise and therefore increase consumption.

‘Class-based comeuppance to the arrogant rich’ as one author puts it, is evident in Undercover Boss. It draws attention to hierarchies evident within the workplace and highlights the ‘hardworking poor’ who slave away for long hours in low status, low skilled jobs just to make ends meet. ‘At the close of each episode, the comparatively wealth abundant corporate CEO who has labored incognito in the lowest ranks of his company indulges a sentimental display of obligatory nobility, such as a promotion or a paid vacation-and in one case, a $5,000 down payment on a mortgage for an employee at a call center. ‘ The New York Times' television critic denounced this end-of-episode executive flourish as "embarrassingly feudal."33 People like seeing the ‘rich’ try to experience life as a middle or lower class person – there is something satisfying about the CEO realizing the struggles and perspectives of low paid employees.

Activities

1. What is meant by ‘access’ to popular culture? 2. What do you think would happen if ACMA didn’t promote diversity in the media? 3. Construct a table similar to one below and fill in each column. 4. Read the article from the LA Times at URL http://articles.latimes.com/2012/nov/03/entertainment/la-et-st-reality-tv-gays- acceptance-20121103 and comment on the changes in access to reality TV for gays and lesbians. 5. Decide which group out of all those examined in the table have the most restricted access to reality TV?

32 Michael, P (7/4/12) ‘Viewers turned off by digital as blackspots rollout’ in Courier Mail, accessed on 11/3/13 at URL http://www.couriermail.com.au/news/queensland/tv-viewers-turned-off-by-digital/story-e6freoof- 1226320717914 33 Lehman, C (2010 Rich People Things: Reality Television’ accessed on 13/3/13 at URL http://www.theawl.com/2010/09/an-excerpt-from-rich-people-things-reality-television What issues Is access to reality Which reality TV surrounding TV easy or shows cater for access exist for this difficult? this group? group?

Youth

Elderly

Male

Female

Australian background

Ethnic background

Metropolitan residents

Rural / remote residents

Homosexual

Heterosexual

High class (wealthy)

Working class (poorer)

How consumption and ownership of reality TV paraphernalia influence a sense of identity

Demand for reality TV has developed and expanded due to media, marketing and very efficient and cost- effective information dissemination channels. All this also increases demand for not just a reality program itself, but associated products and paraphernalia. The commercial value of spin off products is worth millions, and many businesses both large and small seek to make a profit by exploiting the success of reality TV shows.

Paraphernalia includes items or equipment that accompanies the main item, in this case, reality TV. Complementary products and services for reality shows may include web forums, magazines and the spin- off shows, full episodes available online, video games, competitions, recipes and photo galleries. The table below shows just some of the paraphernalia associated with two reality TV programs in Australia. Don’t forget these shows are a worldwide phenomenon so different countries have their own versions and nuances with their own range of products and services.

MasterChef paraphernalia Biggest Loser paraphernalia

• Web forums • DVDs – workout, boot camp, circuit, cardio • Recipes online burn, fit and firm, weight loss warrior, 5 • Magazine minutes a day • Spin off shows – Juniors and Professionals • Cookbook - Crunchtime • Cookbooks from judges and contestants • Biggest Loser club • Aprons and oven gloves • Meal replacements e.g.: soups, breakfast bars, • Junior Pizza kit shakes • Junior Cupcake kit • Commando’s weight analysis service • CD ‘Music from another platter’ • Spin-off shows – couples, families, next • Kitchenware – knives, tongs, saucepans generation • Food and wine hub • Online videos – sneak peeks and past episodes • Facebook and Titter • Photo gallery online • Photo gallery online • Healthy eating quiz • Online videos – tips and past episodes, • Ask a Dr feature online exclusive web extras • Healthy meal planner • Competitions – caption this, rate the plate, • Facebook and Twitter trivia • Training tips • Forum and newsletter

The ownership and use/consumption of all the different types of paraphernalia can create and influence a sense of identity. For example, through membership to online groups, subscribing to magazines and newsletters, buying certain products a person can start to feel a real sense of belonging and purpose that they may not otherwise have felt. They tend to have at least some characteristics, ideology and topics for discussion in common with other consumers of the same reality TV show.

Consumers then align themselves with the values and practices as seen on the reality TV show and also adopt similar goals, language and other traits that distinguish them form others. For example, cooking like a MasterChef cooks as endorsed and promoted by celebrity chef, Curtis Stone, and using the terms ‘the hero of the dish is…’; or adopting the same training regime and mind set with similar weight loss targets as a Biggest Loser contestant.

Activities

1. Define ‘paraphernalia’. 2. Examine the websites or social media feeds of 2-3 other reality TV programs and identify the paraphernalia. 3. Explain how paraphernalia increases levels of reality TV consumption and vice versa. 4. Discuss where ethical boundaries should lie when marketing to children (e.g.: junior cupcake kits as a result of Junior MasterChef) or other vulnerable members of society. 5. How do the concepts of institutional power and access impact the consumption (of paraphernalia) of reality TV? 6. Research the effect MasterChef has had on Coles sales. Refer to specific items and statistics. 7. How does reality TV paraphernalia influence a sense of identity among consumers?

Now, try to answer the question below from the 2013 HSC exam paper. Marking guidelines can be found on the BOSTES website.