By Lesley Henderson
Why are a few debatable concerns coated in television soaps and dramas and never others? How are judgements rather made 'behind the scenes'? How do programme makers push limitations with no wasting audience? What do audiences remove from their viewing adventure? Does television fiction have a better influence on public understandings than television information? This intriguing new e-book attracts on distinctive empirical facts to ascertain the connection among renowned tv fiction and wider society.
The ebook provides vigorous and fascinating insights into how and why socially delicate tale strains have been taken up by means of diversified television programmes from the overdue Eighties to the 2000s. Drawing on a sequence of case reports of drugs, health and wellbeing, ailment and social difficulties together with breast melanoma, psychological misery, sexual abuse and violence it comprehensively strains the trail of storylines from preliminary notion via to viewers reception and makes use of modern examples to hyperlink perform to thought. For the 1st time, this e-book addresses construction and reception tactics throughout quite a number programmes and obviously demonstrates the ways that tv fiction performs an important and robust position in reflecting and shaping socio-cultural attitudes.
Features:
interviews with television drama programme makers (producers, script writers and editors)
detailed research of 'on reveal' illustration
qualitative viewers study utilizing concentration teams and leading edge methods
explores exterior affects on programme content material together with advertisement imperatives, broadcast laws, the position of campaigning companies, wider media coverage.
The publication is key analyzing for lecturers, researchers and scholars within the fields of media reports, sociology, cultural reviews and communications. it is going to even be of curiosity to future health communicators, social coverage practitioners and broadcast professionals.
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Additional info for Social Issues in Television Fiction
Sample text
Television soap opera] makes lots and lots of money. Television soap opera thus forms a major part of British television industry output, which, as a whole, is under intense commercial pressure. Jeremy Tunstall noted that while television soap opera is at the bottom end of the ‘drama-prestige scale’, it is a crucial part of a channel’s image and economic success. As he describes it: ‘Successful soaps, of course, achieve large, or very large, audiences at a remarkably low cost per audience-hour, and at a surprisingly low total cost per year’ (Tunstall 1993: 114).
This suggests that the programme makers cannot assume that the message was explicit to or indeed accepted by all audiences. 2 For discussion see Quinn (2006). 3 There are useful ethnographic studies of the BBC (Born 2004; Schlesinger 1987). 4 The core data set comprises tape-recorded interviews which I conducted with sixty-four television production personnel (commissioning editors, heads of drama, producers, story consultants, script editors and script writers). These professionals were involved in production decisions concerning different programmes (television soap opera, medical drama, single plays and documentary series).
Yet the success of Brookside could never be measured simply in terms of statistics – the programme certainly could not directly compete for the large audiences of BBC or ITV. It was nonetheless important economically to Channel 4 and consistently attracted the highest ratings of any programme screened by the channel. 1 million viewers; BARB, week ending 18 June 2006). Importantly Brookside also attracted young audiences, the ‘gold dust’ for advertisers, with 50 per cent of viewers aged under 35 years.