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How popular culture influences society
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The effect of popular culture on society
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The Popularity of Soap Operas
Television researchers have established a number of reasons why soap
operas appeal to such a large and diverse audience. In this essay I
will be examining these reasons with reference to my own attraction to
soaps, and seeing how they fit into the everyday lives of the millions
who watch them. Furthermore, I will investigate the way in which the
construction and conventions of a soap opera aids its appeal. I will
be considering such aspects as class, race, ethnicity and gender in
order to determine the pleasures of soap opera viewing and will
briefly look at their international appeal. My discussion will
comprise aspects of the British soaps, for example, Brookside,
Coronation Street, Crossroads and Eastenders, the American super soaps
such as Dallas and Dynasty and the Australian soap Home and Away.
Dorothy Hobson conduced a set of interviews between February 2nd & 7th
1987, to establish how far the soap operas fit into the working
environment of women. With the help of her secretary she set about
interviewing six women who worked for Birmingham City Council: Diane,
Gill, Mary, Susan, Vijya and Wendy, whose ages ranged from 23 to 35.
The interviews took place at a night club which opens for lunches
during the day. The informal setting enabled the women to speak freely
about their viewing habits and the mode of discourse was relaxed as
the women were accustomed to socialising together. In consequence,
talking in unison or interrupting one another were not uncommon during
the interview, for example, when Gill was commenting on the characters
she found annoying in Brookside, the other women added in uniso...
... middle of paper ...
...buy the wigs".
15/11/96
Bibliography
Allen, R. C. (1992): Channels of Discourse, Reassembled (2nd edn.).
London: Routledge
Brown, M. E. (1994): Soap Opera and Women's Talk. Thousand Oaks, CA:
Sage
Buckingham, D. (1987): Public Secrets: 'Eastenders' and its Audience.
London: BFI
Dyer, R. (Ed.) (1981): Coronation Street. London: BFI
Evra, J. V. (1990): Television and Child Development. Hillsdale, N.
J.: Erlbaum
Geraghty, C. (1991): Women and Soap Opera: A Study of Prime-Time Soaps.
Cambridge: Polity Press
Kilborn, R. (1992): Television Soaps. London: Batsford
Livingstone, S. M. (1990): Making Sense of Television. Oxford:
Pergamon
Seiter, E.; Borchers, H.; Kreutzner, G.; & Warth, E. M. (1989) (Eds.):
Remote Control: Television, Audiences & Cultural Power. London:
Routledge
This essay will discuss how national attitudes towards the working-class and the impoverished are represented in American Television. The purpose of this paper is to comprehend that television shows are not solely designed to entertain consumers but also contain a hidden agenda whose task is to protect certain ideological perspectives and therefore constant framing strategies take place. The paper will commence the analysis by discussing how males and females are represented in the television show Friday Night Lights, secondly it will look at the
American Dad! Season 3: Episode 12 – at the beginning of the episode (1:04-1:11), Roger, a character on the show, responds to Coffee pal’s recent incentive – the new Pumpkin Amaretto Cream! He eagerly embraces the exciting new flavor, and adds it to his coffee.
How British Soap Operas Attract Large Audiences British soap operas used a variety of strategies and operations to attract a large audience. These strategies clearly work as proven by viewing figures for the three most popular soaps; Eastenders, Coronation Street and Emmerdale command viewing audiences of over ten million on a regular basis. Also soaps have proven to be the most consistent in terms of high audience figures over the years, making them indispensable to the institutions which create them. One strategy used by institutions and producers of a soap, is to place them at a peak viewing time to maximise audience figures. Also the timing of the program means that it has the highest exposure to a possible audience.
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.
Telenovelas are seen as a genre – a soap-opera style of television with wild theatrics, colorful sets, and a romance-oriented storyline. However, telenovelas are much more inclusive and can be considered a format, rather than a genre, due to the fact that there have been telenovelas that have been mysteries, horror shows, and action-oriented, rather than the traditionally recognized “romance”. A question that I will attempt to answer in this essay is: why did telenovelas become so popular in Mexico when they emerged in the late 1950s? My argument is that it was because of social pulls, with Telesistema-Televisa, through collaboration with the Mexican government and the United States media empire, that caused this success due to a need of maintaining order in a post-World War I socio-political climate.
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.
Do you know the guiltiest pleasure of the American public? Two simple words reveal all—reality TV. This new segment of the TV industry began with pioneering shows like MTV’s The Real World and CBS’s Survivor. Switch on primetime television nowadays, and you will become bombarded by and addicted to numerous shows all based on “real” life. There are the heartwarming tales of childbirth on TLC, melodramas of second-rate celebrities on Celebrity Mole, and a look into a completely dysfunctional family on The Osbornes. Yet, out of all these entertaining reality shows arises the newest low for popular culture, a program based on the idea of a rich man or woman in search of the perfect marriage partner. The Bachelor, and its spin-off The Bachelorette, exemplify capitalist ideology founded on the Marxist base-superstructure model and establish the role of an active American audience.
From the mid-twentieth century to the present time, telenovelas have been a huge source of entertainment in Latino households. From comedies to melodramas, the purpose of telenovelas is to offer an escape from the monotony of daily life. Most of the themes that are present are topics relevant to the Latino community. In the words of Cynthia Duncan, “... soap operas tend to promote and uphold traditional values and are generally conservative in nature.” (Duncan 84) Telenovelas focus on family life and how the character’s decisions affect the whole. Those so-called traditional and conservative values tend to imprison women in cliché telenovela characters. Women are always presented as selfless, at times evil, or as women whose sole purpose is
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.
Soap operas have become a cultural norm over the years, which should be expected as they have been airing for seventy-six years; expected to air as daytime programming after the noon news and last until talk shows, such as The Talk, or reality shows, such as Judge Judy, airs. The characters of these dramas have been welcomed into homes and become a part of the family of their viewers; watching their lives unfold on television day after day, allows one to escape their own life and become a part of someone else’s, if only for an hour or two each day. Due to the affect they have on many people, specifically women, look at their lives, relationships, communities, and the world and affairs within it. Soap operas have, over the years, affected American values, caused distractions in the lives of many, and enabled many to think of their lives as better put together than ot...
then his got the people that do like him. Martin comes off as a tough
Soap Operas Soap opera can be defined by looking at the two words separately: The word soap originated from soap powders because the women used to stay at home looking after the house and children and would watch T.V while doing the ironing and it would show soap powder adverts between programmes. The word opera means emphasis on emotion. Soap operas were first heard on the radio during the war because they didn’t have much money and it was not safe to go out.
As human beings, we enjoy an assortment of activities such as reading a novel or watching a movie. There are so many types of composition out there for people to choose from but some are not as interesting as others. I am the visual type who enjoys looking at pictures and watching films instead of reading blogs or forums with a lot of text. My parents are similar, as they spend the majority of their time watching television than reading books. From my parents, I was able to discover the composition of Asian dramas, which I now enjoy watching during my free time. Asian dramas are similar to a mini-series, in the way that they usually consist of about twenty episodes. They are much shorter than American television shows and include all the problems, details, and solutions of the story. This composition has opened up a variety of new perspectives of each Asian culture. It allowed me to realize how the elements of composition, such as imagery and style are essential in writing a script to producing a drama. Asian dramas are entertaining and effective compositions, opening up one to new perspectives of Asian culture and lifestyle.
The viewer positioning in television dramas play a very important and critical part in how the drama is portrayed to the audience, and hence this gives an idea on how successful the show will be. Dawson’s Creek is a relatively new TV drama aimed at teenagers and the issues they face and have to deal with in society today. The viewer positioning, in relation to the show’s themes, construction and values will be discussed and analysed. The “Pilot” episode (first episode of Dawson’s Creek) will be referred back to in this essay, as this episode was what propelled Dawson’s Creek into becoming the most watched teen show around the world and what made the actors/ actresses into instant stars.
Pop culture is everything, it is the culture of people. It defines and dictates the desires and fears of the mainstream members of society. It is so ingrained into our lives that we collectively overlook how integral it is to our development as a society. Adults, especially teens, never even bat an eyelash at all the pop culture and advertising that surrounds them, it has become just another part of everyday life. Pop culture has and is somewhat still seen as entertainment that is enjoyed by the lower class members of society; but what is considered pop culture frequently changes over time. A notable example of this is the sixteenth century author, William Shakespeare, since his works were once considered pop culture, entertainment that could be enjoyed by everyone, but mostly the lower class. Now, he is one of the most renowned authors of the 21st century, with his works frequently adorning our English readings and receiving acclaim for his timeless classics such as Romeo and Juliet, and Hamlet. Pop culture influences