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Recommended: History of soap opera
The Key Conventions of Soap Operas
Soap operas have many conventions that make them different to the
other types of programs we watch on TV. Soaps can be separated from
even their closest types of programs by looking into and studying
their conventions. The Bill for instance shares many of the
conventions of a soap, but not all of them, which separates it from
being a soap.
Broadcasting
To get a wide range of viewing, almost every single soap is
broadcasted before the 9 o'clock watershed. So children can watch them
as well as adults. Some soaps are broadcasted around lunchtime and
repeated after school around 5. One reason for broadcasting at
lunchtime is for the housewives to take a break, sit down has lunch
while watching what they want to watch. If they have small pre-school
children, they would feel safe with them watching it too because its
before the watershed and is unlikely to contain anything unsuitable.
Also the elderly, who maybe don't have a lot of company, can watch the
soaps. The un-employed and people off sick from work or school can
also get a chance to watch. 2 examples of soaps that broadcast around
lunchtime are Neighbors, Family Affairs and Home and Away. (They are
all shown after the other so as not to clash)
A soap that breaks the broadcasting being 9pm convention is Night and
Day. This soap broadcasts twice, once before the watershed and once at
around midnight. By doing this they can include scenes of violence,
nudity and swearing in the late broadcasting, which would not be
allowed to be shown before 9pm. This would hopefully attract another
different type of viewer, which would boost their ratings.
Storylines.
All soaps have multiple and continuous storylines, that usually
intertwine which each other.
Many storylines don't have resolutions, for example Marc in Eastenders
has Aids and the story always pops into episodes, where he goes to get
new drugs, has to tell his partners about it and recently he has been
for half an hour. It is mostly aimed at young people from the ages of
I always knew when one of the many soap opera’s was about to begin as
Different Strokes a comedy sitcom, first aired in 1978, and lasted until 1986. This sitcom consisted of a widowed Manhattan millionaire, Phillip Drummond , who adopted two orphaned brothers. Arnold who was 8 years old and Willis who was 12. The boys' mother was Drummonds housekeeper who became very ill, so Drummond made a promise to her that he would take care of her two sons after she passed away. Drummond treated the two boys like his own. He also lived with his daughter, Kimberly, who was 13 years old, and his current housekeeper. This sitcom showed typical life lessons in growing up, and social problems that were occurring during that time. Some of the aspects of this show were both positive and negative.
The Future Popularity of British Soap Operas The issue of whether soaps can sustain their popularity is very debateable as the overall viewing figures for soaps have fallen, for example figures for Eastenders in 1995 where sixteen million (according to BARB) whereas in 2005 the average viewing figures were about eight to nine million. There are different factors that could be associated with this decline such as more competition for the audience, more channels and soaps, scheduling issues and the changing dramatic styles of soaps themselves. Another factor that must be considered is the publicity surrounding soaps in the wider media as influencing the level of sustainable popularity that they may have. Technological advances have resulted in the rise of digital television where the viewers have a much wider choice of channels and programmes to choose from, this has brought about an influx of American shows with which British soaps have to compete with.
British soap operas are, of course, overly dramatic. In nearly every soap opera, including the Eastenders, Coronation Street, Emmerdale, and The Archers—the characters constantly discuss money and drink excessively. Of course, these shows are not made to be taken literally—they are mindless entertainment, not serious social commentary. However, behind the drama, they raise subtle questions about the nature of Britain today: the clashes between cultures and religions, upper and lower classes, and the young rebelling against the old. All of these things could be happening at the very same time, and underlining all of these issues is the idea that no one should be trusted.
In Hollywood Harems, the oriental woman is portrayed as the object of the fantasies of western males. The film focused on representing Muslim women as a form of sexual entertainment. For example, an oriental woman is seen dancing in a revealing dress and lures men in her past the holiness of the veil through the forbidden territory of the harem. Harem expressed the idea of women as a form of entertainment and repression of women sexuality. The message of the film illustrates the fascination of the east and reinforces derogative assumptions about people in the east in general and women in particular; it also reinforces the idea of cultural supremacy of the Anglo-European world. Hollywood used the term harem in the 1950s as a response to the
Relationship Between Soap Operas and Reality TV Dating Shows Tania Modleski’s “The Search for Tomorrow in Today’s Soap Operas” proposes that the unique appeal and function of soap opera lies in (a) the viewer’s ability to inhabit the text’s prescribed spectatorial position of ‘the good mother’, and (b) using the archetypal ‘villainess’ to displace one’s own repressed anger and powerlessness. It can be argued, using Modleski’s analytical perspectives on the interpellated spectatorial positions of soap operas, that a new genre of television programs (namely the reality dating shows) function in a similar way. An examination of Modleski’s thesis renders these statements more likely. Modleski argues that soap operas are essential in understanding women’s role in culture.
This essay will examine my thoughts and those of David Sterrit on the critically acclaimed television show The Honeymooners. First, I will talk about the Honeymooners and it’s setting in postwar America. Secondly, the social and cultural issues the series portrayed. Next, would be the psychological perspective and the aesthetics of the show. Finally, the essay would conclude with my thoughts on how the Honeymooners were impacted by these aspects, but also how the show managed to leave a legacy in television today.
I have chosen six concepts from our book that can be applied to a TV show. Each concept I have choose gives good detail about how interpersonal communication is vital to the show. The six concepts are interpersonal conflict, culture and gender, language, emotion, listening, and deceptive communication. The TV show I have decided to use with these concepts is the show Survivor. The show is a reality TV show that involves 20 contestants that vary from age, race, ethnicity, and gender. Also all of the contestants are from the United States even though they may be a different race or ethnicity. These survivors must live on a remote island with each other and rely on each other for about 40 days until one member is left. I feel like this show gives many great examples of communication and how it can help and hurt people in the real world.
There is a little show on Showtime called Californication. Despite all of its crude humor of sexual acts involved in the show, it has been very successful, even though some of the content on the show would offend many people in this day in age. Californication, a show mostly based on sex, has mostly negative representation of sex and very few, but meaningful, acts of positive sex.
Britain on E4, at 9:30 on a Thursday night. ER has been one of the
Soon the phenomenon make its way across the water to the shores of Britain, and soap operas became the new obsession in Britain too. The name ‘Soap opera’ comes from the advertisers of the original soap operas. This was because radio stations relied mainly on income from there sponsors, and as female audiences were the target audience, the advertisers marketed toward them, advertising household products such as soap, detergent and other cleaning products. The ‘opera’ was because the plots were often dramatic and surreal as were the theatrical operas of the time, hence the name ‘Soap Opera’. To keep loyal listeners, radio stations would each have their own different type of opera, however they all followed the same basic plots involving romance, drama and topics the audience could relate to, such as politics.
there you can catch them on UK Gold, UK Gold 2 and UK Gold +1, on Sky
HBO's Sex and the City has become a cultural icon in its 6 seasons of running. Based on Candace Bushnell's racy book Sex and the City, the show exhibits an unprecedented example of the sexual prowess of women over the age of 35. The result is an immense viewing audience and an evolving view on the "old maid" stigma that a woman's chances of finding love are significantly reduced after thirty-five. In this paper, we will closely analyze the characters and themes of Sex and the City to explain the significance of what the show represents in American culture.
What is Realism? Realism is the movement toward representing reality as it actually is, in art. Realistic drama is an attempt to portray real life on stage, a movement away from the conventional melodramas and sentimental comedies of the 1700s. It is expressed in theatre through the use of symbolism, character development, stage setting and storyline and is exemplified in plays such as Henrik Ibsen's A Doll's House and Anton Chekhov's The Three Sisters. The arrival of realism was indeed good for theatre as it promoted greater audience involvement and raised awareness of contemporary social and moral issues. It also provided and continues to provide a medium through which playwrights can express their views about societal values, attitudes and morals. A Doll's House, for example, is the tragedy of a Norwegian housewife who is compelled to challenge law, society and her husband's value system. It can be clearly recognized as a realistic problem drama, for it is a case where the individual is in opposition to a hostile society. Ibsen's sympathy with the feminine cause has been praised and criticized; as he requires the audience to judge the words and actions of the characters in order to reassess the values.