Love it or loathe it, The X Factor is a modern media phenomenon. In an In the UK (at least) the show broadcasts discussion shows after the main age of fragmented niche audiences, The X Factor’s success cannot be programme (ITV 2 – The Xtra Factor), it becomes a talking point in overlooked. Coronation Street, which used to unite the population in tabloid newspapers and magazines and uses Y ouTube, its own website and consensus viewing, considers it a success if a special episode attracts 13 other emedia technology to provide clips and additional information to its million viewers – 5-6 million is a more realistic weekly target which is a internet audience. The show generates two singles which are available as sharp decrease on its 80s heyday of upwards of 25 million. The recent downloads or physical purchases during its run or just after - a charity prime ministerial debates managed to average out at approximately 9.5 single performed by all the finalists and the winner’s single. Both of which million viewers for the first debate and it was noted that ‘only soaps, can usually be expected to sell far more units than a non-X Factor release. reality shows such as Britain's Got Talent and major live sporting events Fans of the show can relive their favourite moments on DVD, gain further attract these sort of figures on a regular basis nowadays, with the insight from X Factor books and play the X Factor games as well as fragmentation of viewing across hundreds of digital channels’ (The purchase a whole array of merchandise items. In addition to all this, a live Guardian 16/04/10). show tours arenas in the months after the show is broadcast, maximising on public interest. The X Factor is a truly cross platform multi-media text. The X Factor, a weekend talent show peaked at 19 million for its December final in 2009 (a 63% audience share) bettering the post-Susan The X Factor is a carefully planned, highly constructed media text that Boyle success of Britain’s Got Talent earlier that year (11 million) and maximises all aspects of its presentation to appeal to, draw in and maintain seriously outperforming C4’s flagship reality programmes Big Brother and a large and often loyal audience. A detailed deconstruction of the text Celebrity Big Brother. The launch of the latter earlier this year drew in provides ample opportunity to discuss how media texts use media language only 6 million viewers, marginally less than The Antiques Roadshow to: broadcast on BBC 1 an hour earlier. Even at the height of its notoriety, Construct Representations Celebrity Big Brother only Create Narratives reached 8.8 million Target, appeal to and provide gratifications for its audience people during the Reflects contemporary values and ideologies now infamous ‘race Set and subvert its own genre codes row’ between Jade Goody and Shilpa Behind all this is, of course, Shetty – less than the need to meet its own half of the audience institutional remit and who watched Joe agenda. The X Factor is McElderry win The primarily a money-making X Factor last year. format and its institutional position, whilst not wholly The X Factor’s unique, makes a fascinating success is not case-study and it limited simply to its demonstrates very clearly ability to attract an audience. The show is now a franchise and the format how media concepts has been sold to 24 other countries spanning all continents. The X Factor combine to make the reflects the globalised nature of contemporary television and Cowell is formula of The X Factor as launching The X Factor in the USA (to replace American Idol) in 2011. successful as it is.
The X Factor and Media Concepts
the performances before them. Better auditions The X Factor logo is ubiquitous from the opening Media Language tend to be presented to television audiences using credits to its use as part of the set design or as a wide variety of camera angles and editing part of the captions used. Similarly the X Factor In 2009, for the first time, the televised audition techniques which again give a more professional theme is played throughout the broadcast and a stage of the programme was held before a live appearance. Weaker auditions are often largely somewhat patriotic red, white and blue dominates audience. This meant that the ‘look’ of the early presented by showing audience and judges’ the look of the show. The look (and sound) of the stages of the programme altered from the logo brand is reinforced throughout creating a strong bedecked audition rooms of the previous series identity for the franchise. to the warmer and more ‘show-biz’ location of a live theatre (already a successful presentational The three main sections (televised auditions/boot format for Britain’s Got Talent). Stronger camp, the judges’ houses and the finals) all have auditions, using pre-recorded backing tracks, their own unique look. The judges’ houses section looked more ‘professional’ in this setting than relocates the competition and the setting becomes they did in the previous series although the instantly more aspirational as the contestants are setting highlights the lack of talent in the weaker taken to a glamorous and (usually) sunny location auditionees. The size of the stage dwarfs the where they meet, not only the judges but also a contestants and consolidates their ordinariness recognisable celebrity, in a much more personal (also reinforced by their often unpolished setting that is clearly identified as an indicator of physical appearance and performance) whilst the success (Cheryl Coles’ house was in Morocco and location of the panel of judges at the front of the Dannii’s in Dubai in 2009). For the first time the stage helps to reinforce their separateness and contestants and the audience are shown the superiority. The addition of a live audience lifestyle to which the participants are aspiring and creates a dynamism and excitement as they responses with fairly static camera work on the the settings are chosen to reflect leisure and become excited by the auditions and respond to acts themselves. indulgence rather than hard work or performance.
Narrative
A range of complex narratives are created by the show.
The series creates a general narrative based on the competition itself. It uses the now familiar elimination technique throughout which can be related to the repetition (and further complication) of the problem of the narrative. Each stage develops the problem. At auditions, the main question raised is – ‘will there be any good contestants who can go on to boot camp?’ At boot camp, ‘who will make it to judges’ houses?’ and then ‘who will make it to the final?’ Only then is the main narratological enigma put forward, ‘who will win?’ The speed of the enigma is slowed down as the series progresses. The auditions quickly reject a majority of the contestants, boot-camp reduces the field dramatically, ‘judges’ houses’ finally concludes by selecting the twelve finalists, one are based on sound business sense. Simon’s female competitor Rachel Adedeji who had of which will then be eliminated per week from honesty enables him to be cast as the villain been twice been in the bottom two. After that point on. By raising the stakes gradually, where business sense outweighs emotion and failing to capture the the narrative of the series helps create audience sympathy. Louis appears more emotional and audience’s attention interest and is structured to allow the audience both his enthusiasm and his rudeness are twice she altered her to begin to invest in certain characters and so presented as child-like qualities. His persona is physical look, changing creates an audience loyalty. Once ‘hooked into’ less ‘mature’ than Simon’s and he can be seen her hairstyle from an the narrative of the series it is hoped that the to be a rather infantilised male. He often steps unconventional short audience will stay with the show to its end. into the role as villain but his comments are and dramatic quiff to a often tinged with personal criticism and, at softer bob style and in However, this is not the only way narrative is times, bitchiness which Simon attempts to an interview with the used. Individual contestants are often presented avoid. Both Cheryl and Dannii are presented as show’s compère Dermot with a narrative of their own. This is often more emotional and caring. They respond in O’Leary she presented based on hardship or personal tragedy (and is stereotypically feminine ways, nurturing their herself as wide-eyed, rarely used for untalented hopefuls). Presenting teams and attempting to let losers down in a breathless and giggly the contestants within their own life’s narrative gentle and caring way. Cheryl’s emotional using a style similar to can create audience identification, reinforces connection to the contestants is often witnessed the one that was proving so effective for the ordinariness of the contestants and can be through public emotional displays, often Stacey. developed into fully realised character roles as involving tears. the series progresses. Similarly, the judges also play character roles and a narrative is Contestants: All contestants are represented constructed around the competition between differently but often to fit in with the narrative them and these narrative roles construct of the competition or the roles played by the specific representations and ideological judges. Jamie Archer had musical perspectives. disagreements with Simon and was depicted as a red-blooded alpha-male - so this conflict with his mentor is perhaps not too surprising as two Representations/Ideologies strong males clashed. John and Edward’s roles as irritants to Simon Closely tied in to the narrative roles played by reflected the Fame – The idea of fame (and the assumed the contestants and judges, the programme relationship fortune that accompanies it) is often seen as a creates a range of representations. Some between the prize in itself. Much is made of the £1m examples (from 2009) are: two male recording contract prize but little is said about judges whilst the fact that the contestants do not see much The judges: sticking closely to dominant emotional and money themselves as this is to pay for the ideas of gender. The two male judges play roles caring Cheryl recording and marketing costs necessary when which are in conflict. Simon is the ‘hard-nosed’ was given the launching a new act. The reward for getting business man who is blunt and outspoken and ‘boy’ group to through boot-camp is access to the kind of appears to pride himself on a non emotional mentor and lifestyle associated with fame and success at reaction to the contestants where his decisions was shown the judges’ houses. Those that get through to creating the live finals are shown attending premieres strong and celebrity parties and the lifestyle is often emotional ties referred to by contestants as their ‘dream’. The with her finalists subject themselves to styling and charges – presentational advice which may or may not especially reflect the individual personality or musical Lloyd and the choices made by the contestant themselves at winner Joe. Stacey Soloman’s lack of guile and the start of the professional polish was focussed on and her process ‘simple Essex girl/single mother’ persona was indicating that developed through the series. The ‘simple girl’ the goal is could be depicted as a victim of circumstance fame rather throughout the competition and was obviously than musical seen as a good strategy as it was even adopted integrity or by the more forthright and aggressive-looking artistic communication. These ideas tie in to both the Representation of ‘otherness’: Some common reinforce this ‘reality’ of the situation. notion of celebrity culture. Although the prejudices are reinforced within the show. Often contestants in the final have been selected for the most ridiculed auditionees are those who are Variety – The X Factor and other shows of its their talents few manage to elevate themselves perceived to be ‘stupid’, unattractive or appear type have reinvented the variety show that was beyond the idea of reality TV personality. to be from lower socio-economic groups. popular on pre-watershed weekend television up Foreign contestants are often held to ridicule until the 1990s. It retains many of the codes of Audience even though their nationality is never explicitly this style of programming. Some variety shows referred to as the source of comedy. Whilst were set in theatres similar to the auditions some groups are clearly depicted as ‘other’ the whilst others used television studios like the live The X Factor has managed to engage and show does attempt to reflect the multi-cultural finals. Extravagant backdrops, light shows, maintain a large audience. Its appeal comes aspect of costumes and dance routines became the staple from the combination of a number of different modern of these programmes and have all been adopted elements. Britain. by The X Factor. Sexuality Consensus: The early stages of the show is rarely create a unity between audience and producers made an Institution in the agreement created in the rejection of the issue untalented and the rewarding of those who have although musical talent. Consensus is created between Dannii Syco is a subsidiary of Sony Records and the the audience and the judges and also between almost producing institutions for the programme are the diverse and broad audience watching the broke this TalkBack (owned by FremantleMedia) in show. association with SycoTV. The programme raises convention when commenting on Danyl’s several institutional issues, not least of which Creation of Audience groups – as the alteration of lyrics to represent heterosexual the fact that the programme acts as a profitable competition progresses audiences can align values. way to scout for talent for its own record label. themselves with judges and/or specific artists Income is generated in a number of ways – via creating mobilising fan bases. This was perhaps Familiar Music: the programme appeals to sponsorship (currently Talk Talk), it is sold to best exemplified by the ‘Jedward’ the broadest audience by presenting cover ITV who broadcast the show and they in turn phenomenon. The act created a division within versions of mainstream artists and classic songs. are able to charge premium fees for advertising the judging panel and across the audience. occasionally, less well known songs will be space within the programme. Established artists ‘Team Jedward’ professed loyalty and chosen but the arrangements are consistently who appear on the show are usually promoting a admiration for the twins whilst others middle of the road. new release and the mass exposure can be seen responded negatively towards them. Either way to generate sales. Some of these artists are the audience is interested and engaged – a Interactivity: The audience are encouraged signed to record labels who are also owned by success for the show. to interact with the programme in a number of Sony Records. The programme encourages the ways – primarily by voting in the latter stages of audience to vote for contestants which generates Narrative techniques create a sense of an the competition. The Xtra Factor on ITV 2 is a large income and the finalist’s single is ongoing story which becomes addictive. The based around audience comments and allows guaranteed to sell in enormous quantities and so long running nature of the process helps audience members to engage with the judges adds to the income generated by the programme. maintain audience interest as once audience and contestants during phone-in and interview members invest a lot of time into following the segments. Simon Cowell has a close relationship with narrative, they ‘owe it to themselves’ to see the tabloid newspapers - especially The Sun. This story through. Romantic entanglements are was clear when Cowell was given an opinion often alluded to whilst the contestants are living Genre piece in the paper the day before the 2010 in the X Factor house (Diana and Eoghan in general election where he reinforced The Sun’s 2008 and Stacey and Olly plus Jamie and a The show is a hybrid text which uses a range of support for David Cameron’s campaign. During member of Kandy Rain in 2009). familiar codes and conventions. It is now the competition, The Sun provides extensive established enough to have created codes of its coverage of the show and supplements reporting Catharsis: Whether through the public own which can be seen to be replicated in other on the events with interviews, gossip and special humiliation of the untalented or the progression similar shows. features on the contestants and the judges. The of the finalists, a cathartic pleasure is created in X Factor and The Sun have a symbiotic the ongoing judgements and eliminations Talent Show – since Opportunity Knocks and relationship as the programme benefits from the provided by the shows. New Faces, talent shows have involved publicity the paper provides and the newspaper audience votes, judges’/hosts’ barbed benefits from getting exclusive stories that Identification: Created through the addition commentaries and a variety show style interest the X Factor audience. Other tabloid of personal back-stories for the contestants – presentation. newspapers also run X Factor related stories in particularly those who have achieved despite an attempt to compete with The Sun and so the personal problems/hardships Reality TV – the idea of the journey taken by programme benefits further. During the battle the contestants is presented as a reality show for the Christmas number one, The Sun actively even down to the finalists sharing a house sided with The X Factor running stories which together in the final weeks. Their trials and demonised the facebook campaign and Rage tribulations as they progress through the process Against the Machine themselves. They are part of the narrative and the contestants are attempted to create sympathy for Joe McElderry presented as individuals with personality claiming that the campaign was impacting on strengths and flaws – just like ‘real people’ or, him being able to make his dream come true, indeed Big Brother contestants. The show uses reinforcing the idea that the Christmas number talking heads interviews and some ‘fly on the one was a ‘right’ for the X Factor winner. (see wall’ footage to p.4)
Reflections of the Post Modern
Despite its mainstream appeal and its Jamie Archer and Diana Vickers can traditional format, The X Factor can be only succeed so far in this environment read as a very postmodern text. The and the winners of the series’ these inclusion of the audience at several contestants were in (Joe McElderry and levels goes some way to break down Alexander Burke respectively) reflect a the traditional barriers between far more homogenous singing style. The audience and institution. The X Factor themed weeks indicate a need for encourages audience interaction and contestants to be able to perform songs activity by supporting a cross media that fit a wide variety of popular styles approach and involving the audience rather than develop a style and a sound of in voting in the last stages of the their own. competition. It’s cross media presence allows audiences a number of ways to All musical performances in the show are increase their involvement with the cover versions. The audience can be text as does the phone-in aspect of The gratified by the familiarity of the music The Sun: 11th Dec 2009 Xtra Factor. The fact that the audience they hear but the programme itself can be wins X Factor this weekend is present at each stage of the seen to be part of the construction of Cowell’s Rage and No 1 topping the charts with Plot competition (apart from Judges’ simulacra. Contestants are required to their version of Miley Cy- Houses) and they are shown ape the look, sound or performances of interacting with the judges and existing artists and become imitators at rus's The Climb. demonstrating their personal loyalty to times. One of Alexander Burke’s most An internet campaign to contestants reinforces the importance popular performances was a cover of stop the X Factor winner Simon said: "It's stupid - a of the audience in the construction of Christina Aguilera’s Candyman. In the landing the Christmas No 1 cynical campaign aimed at the show. performance Burke wore clothes that spot has been blasted by me which is going to spoil reflected the costumes from Aguilera’s There is an argument that The X video which in turn was referring to Simon Cowell. the party." Factor represents the contemporary 1940s big band music and paid homage Half a million people have fixation on style over substance. This to a number of iconic images from the He said the contestants already pledged to buy a aspect of the postmodern focuses on time. would suffer not him, and song by foul-mouthed modern culture’s apparent preference added: "It's incredibly dis- for the look, the glamour and the Another level of simulacra comes in the metallers Rage Against The polish of an event over the content and performance of songs that are already missive of people who Machine, led by Zack de la meaning. The X Factor provides cover versions. On ‘Queen Night’, watch and enjoy the show. entertainment in the most simple terms Jedward performed Vanilla Ice’s Ice, Ice Rocha. whether through the humiliation of Baby (justified because it used a sample It treats them as if they are untalented hopefuls or the competition of the Queen song Under Pressure) and That would prevent whoever stupid." between desperate amateurs. Twist and Shout was identified as being Contestants are often heard to declare by The Beatles when Olly Murs exciting for audiences if it is to With Dannii’s pregnancy and that their whole future is based on performed it despite the fact that The maintain its success given the talk of a new judge for 2010 winning the talent show and they state Beatles themselves had covered the song fact that audiences have a wide the dynamic of the a preference for the glamour and fame originally recorded by The Top Notes but variety of media entertainment programme will change again. provided for them by their originally a hit for the Isley Brothers. options to choose from. It has Whether or not any of the participation over the mundanity of the used new and digital media to contestants will reach the lives they led beforehand. The help maximise its reach and heights of musical success contestants are often selected for their the news media helps keep the enjoyed by Leona Lewis is yet ability to be moulded into mainstream competition in the public eye. to be seen but The X Factor is ‘all round’ entertainers and the idea of not about long term artistic expression through music does investment in music. It is a not play a part in the show. highly successful response based on a synergy between Contestants who are less malleable the music industry, television often get rejected as do those with a and the news media which strong musical style or image. creates vast, if short term Presentation is at least as important as profits. raw talent and the less challenging and original a contestant is, the better they are likely to do. Individuals such as Please note: Whilst the examples cited refer to an a copy of a copy... older season of X Factor, The X Factor is very much a text of our the conceptual ideas times. It reflects the celebrity fixated presented here are still media culture that we live in and valid. promises fame and wealth to people but unlike earlier reality programming, those that succeed must have talent and be prepared to put themselves through the gruelling process of auditions and the live finals. Recent changes to the format of the show indicate that it recognises that it needs to keep the brand fresh and