CHAPTER 1 RESEARCH PROPOSAL PROVISIONAL TITLE: The interactive nature of reality television: an audience analysis 1 CONTEXT OF THE STUDY 1.1 Purpose of the study The purpose of this research study is to explore the relationship between interactive reality television and the viewers who participate in the different interactive activities. Reality television has emerged as a very prominent genre in South Africa in the last ten years, with many reality programmes enhancing the viewing experience by offering their audiences the option of active participation in the show itself. The aim is to explore the factors that motivate viewers to participate actively in a television show. The study also explores the importance of expected gratifications and the actual gratifications received when participating in different activities. 1.2 Background of the study The history of media audience research has seen many a transformation in media theory and research perspectives. The main shift in focus showed a move from the traditional research of the impact of the media on its audience to researching what audiences do with the media. According to Williams (2003:190), “the change in thinking about media audiences coincided with the technological advances that have enabled the media to cater for more specialised audiences”. These technological advances also brought about a change in television genres. The last decade certainly belongs to the genre of reality television and its striking rate of popularity among television audiences. Defining reality television has proven to be problematic, since reality television often blurs the line between fact and fiction, even though it claims to represent reality (Cavendar & Fishman 1998:3). 1 As it is generally understood though, reality television has the following attributes: • The recording of events in the lives of individuals or groups • An attempt to simulate these real-life events by means of dramatised reconstruction • Packaging this material into an attractive programme with entertainment value that can be marketed on the strengths of its ‘reality’ credentials (Kilborn 1994:421) The interactive activities referred to in the context of this study include features such as accessing the Internet, voting via text messages or telephone, accessing the DSTV (digital satellite television) guide, sending text messages for broadcasting purposes and attending official appearances of the contestants of the show. Reality television and interactive media opened the door to audiences to participate actively and influence the outcome of these simulated real-life events, thereby giving the audience the power to ‘write’ the final chapter themselves. Hellman (1999:112) claims that the audience is the ‘new king’ in the relationship between the media and its consumers. The change in the television environment has forced broadcasters to become audience oriented. Two main reasons are identified to substantiate this perspective. The first is the financial basis of television programming. Advertising has become the main source of funding for broadcasters and audience ratings play a crucial role in justifying programme choices and encouraging advertising revenue. The second reason is audience fragmentation as a result of channel multiplication. The continuous multiplication of choices has created an unpredictable audience and a saturated television market (Hellman 1999:112). The increase in programme supply has emphasised the role of consumer choice and made the broadcast industry acutely aware of viewer needs and demands. Hellman (1999:112) states that: Although further technological leaps towards an interactive entertainment/information superhighway are imminent, already today a ‘policy of supply’ has given way to a ‘policy of demand’. 2 Yet audience ratings only provide indirect evidence of viewer demands and preferences, but do not offer an explanation for viewer preferences. This study focuses on viewers of the television programme Project Fame to supply answers to the questions of audience participation in reality television. Project Fame was a new concept launched in 2004 by M-Net (the broadcaster) and the production company Endemol. It is a mix between the two ever-popular interactive reality programmes in South Africa, namely Big Brother and Idols. Sixteen young people lived and trained at a Fame Faculty where their lives were filmed 24 hours a day, seven days a week, as they received professional music training and prepared themselves for a life of fame. Together with respected professionals from the music industry, audiences had the opportunity to vote for their favourite students and give them a chance at stardom (Project Fame 2004). By examining the interactive nature between audiences and reality television programmes, this study aims to provide valuable answers to the research questions. 1.3 Relevance of the topic As mentioned in the foregoing discussion, reality television has emerged as a strong competitor for traditional programming in the television arena. This is evident from the many reality shows being broadcast on national television such as Survivor, The Amazing Race, The Apprentice, On Site and Pop Idols. The fact that these shows are scheduled for prime time broadcast also supports the prominence and popularity of reality television shows. Not only is the genre very popular among its target audience, but low production costs also contribute to making reality television the genre of choice for production companies and broadcasters. With advanced technology allowing viewers to interact with the text itself, the viewing experience is no longer confined to the television set. Extending the viewing experience to interactive participation has become an essential component of all television genres. However, combining the interactive component with the genre of reality television creates a dynamic relationship between the text and the audience, as viewer participation influences the outcome of the show. 3 1.4 Relationship of the topic to the discipline of Communication The discipline of Communication is constantly evolving and remains a dynamic process. This is evident from the many Communication theories aiming at offering a better understanding of the different levels and ways of Communication. Communication research aims to identify patterns, trends and relationships in order to gain a better understanding of the communication process and the creation of meaning, and to predict future circumstances (Baxter & Babbie 2004:4). Mass communication remains one of the most powerful mediums in communicating messages to a large audience and due to the large audiences involved, it continues to be one of the most important fields of research within Communication. Interactive reality television is an exciting addition to the field of mass communication and challenges the traditional conventions of mass communication by allowing viewers enhanced input in, and interaction with, the message being communicated. 1.5 Other research in the field A NEXUS search of the National Research Foundation’s database confirms that no research has been or is currently being conducted on this specific topic. Furthermore, it shows that, to date, no research has been conducted on the subject of reality television in the South African context. 2 LITERATURE REVIEW This research study will use two communication theories as its premise namely the uses and gratifications theory and reception theory. The uses and gratifications theory introduced a new phase in mass media research by challenging the traditional focus from what the media do to the audience, to what audiences do with the media (Schrøder 1999:39). It furthermore focuses on why audiences use media and the purposes for which it is used (Chandler 2004). The uses and gratifications theory states that viewers have their own preconceived needs and desires that they bring to the communication process. These needs and desires influence the meaning that viewers attach to a message as well as how they respond to the message, which is also influenced by social and cultural circumstances (Williams 2003:177). 4 Although there are several versions of the uses and gratifications theory, three basic assumptions form the core of this theory. Firstly, viewers are seen as active participants who use the media for their own individual purposes; secondly, viewers can identify these purposes and know how to express them. The third assumption acknowledges not only that variations do exist between the individuals’ use of the media, but also that it is possible to identify basic patterns and habits in uses and gratifications (Williams 2003:177). The uses and gratifications theory also distinguishes between expected gratifications sought before media exposure and the actual gratifications obtained after media exposure (Bryant & Heath 2000:363). Despite its valuable contribution towards audience research, the uses and gratifications theory is not without flaws. The main critique against this theory is that it does not recognise the influence of the context within which media use takes place (Reimer 1998:137). Thus, it focuses solely on the individual, ignoring the social and cultural context that also influences the individual’s media choice and message interpretation (Grossberg, Wortella & Whitney 1998). Therefore, the uses and gratifications theory does not allow for the study of micro- processes such as the interpretation of messages. The cultural studies approach to reception theory addresses this