From the closing
decades of the twentieth century was a period of significant change for
broadcasting in the UK. An extremely large rise was shown in reality television
and factual programming which led to a more commercial environment, a growth in
the number of television channels, a fragmentation of audiences and the gradual
erosion of public service broadcasting. “Audience sizes and ratings shares fell
for current affairs and investigative documentary, a sober tradition of factual
programming based on a professional production culture with roots in
journalistic documentary.” (Bignell, 2011: 4) This quote expresses the change
and rise in what is happening in documentary and what modern documentary is
like. Many programmes today like: Big Brother and The Only Way Is Essex has
changed the forms of documentary and made it fit into society today which has
allowed a bigger and wider audience to enjoy programmes like these ones.
Reality
Television today is a new form of documentary which has a large audience. “The
narratives, styles and approaches of popular factual entertainment shift
documentary away from its traditional focus on argumentation and public
education toward the pleasures and conventions of entertainment” (Beattie,
2004:203)This quote discusses the reason why popular entertainment programmes
today allow the spectator to enjoy the programmes in a different way through
the use of style and narrative. It also conveys that entertainment is now the
key point in television. A reality
television programme which can relate to this one is Big brother. This is
because the programmes entertainment levels are very high and still has its
factual documentary conventions. Such as
the typical voice over throughout the show and the fact that some of it is
scripted. The entertainment is very strong due to it being a live broadcasted
show which to the spectator shows real life people living live on television so
the audience can relate to them as they are ordinary people.
‘Engagement with
real-life subjects is kept at a superficial level. The aim is that of diversion
rather than enlightenment’ (Kilborn, 2003: 11) this quote shows that audiences
engage more in the programme when it is shown in a real life setting. It also
expresses that it brings a diverse audience together as the contestants on big
brother are all different ages. This allows the spectator to engage and
understand the contestants which shows a relation between them and the viewer.
It also portrays to the audience a different outlook on life and shows
different types of people to themselves. It tries to make the audience understand
different types of people and different life styles and educate them in the
different cultures of people. It is also to give the viewer themselves
confidence as they see ordinary people like themselves on television instead of
the stereotypical celebrity stars they see on TV every day.
As well as that
reality television still shows traditional functions for documentary. For
example Documentary is regarded as publicity and propaganda for dominant
versions of citizenship and Big brother shows this through the use of different
types of contestants. Big brother is set
out in a way to keep the audience entertained as much as possible. The house is
specifically designed for eavesdropping which brings the show to a very
personal level as we would here personal conversations between the contestants.
‘In the case of Big Brother, confession tends more to gossip than testimony
thereby pushing confession further from any notion of an interview designed to
complement or extend argumentation about the world’ (Beattie, 2004: 200) This
also examines the personal level of big brother and discusses that confession
shows a strong sense of argumentation when it comes to the world compared to an
ordinary interview in a documentary.
Big brother is seen through the observational mode. It is a
classic observation which brings in the viewer into the realms of the voyeuristic,
which also allows access to the personal and private moments of Big brother. In
classic observationalism the subject does not appear to be
Performing;
there is an attempt by both subject and director to treat speech and behaviour
as ‘naturally’ as possible.” In popular factual entertainment, observation
becomes the impetus for the non-professional to perform. (Beattie, 2004: 201)
This quote expresses a difference in traditional documentary in a specific
area. It examines the privileging of performance among the “ordinary” people
who take part through a classical observational mode of convention. It also
talks about trying to keep it as natural as possible towards the audience. This
is because the more natural a programme is the more the entertainment value
stands out and how the spectators can feel and relate to it more.
When it comes to
reality television there are many arguments today discussing what reality is?
which raises questions about authenticity and in what sense such shows are
‘reality’ based ‘this emphasis on performance is so strong that it becomes a
moot point as to whether one can accurately describe them as reality or
actuality based’ (Kilborn,2003: 75)This examines the fact of performance. In reality
television the contestants are performing as themselves which makes us question
is it truly reality as the performance is them. This comes to the criticism of
is the camera changing the way they would actually behave if it was not there
and are they putting on an act just because it is TV?
When it comes to
factual entertainment and the documentary diversion when examining reality
programmes to other traditional documentaries:
programme’s such as big brother and the only way is Essex do not address
serious issues nor have a seriousness of purpose. The main factor is always entertainment
rather than a serious message. Docu-soaps,
and popular factual
programming in general is
governed by what Kilborn calls “the entertainment
imperative” (2003: 102). This shows Kilborns idea of the entertainment
imperative and how he discusses the none serious side to reality programme’s
and docudramas as it brings the audience closer to the people involved in the programmes.
According to
Kilborn (2003) reality-based TV and popular factual programmes are also
characterised by “new ways of speaking to their audiences” What he means by this is that television has
come a long way from just ordinary documentary’s and now they can relate to
their audience in many different ways through the use of reality
programming. Another point Kilborn made
was that they are characterised by a 'light non-threatening mode': 'Given their
entertainment priorities, docu-soaps are, above all, characterised by a
lightness of tone' (2003: 104) This quote conveys the idea that programmes who
fit the genre of reality television and factual entertainment programmes are
all made for entertainment purposes and do not have a seriousness to them. When
he talks about the lightness of tone he means that the programmes are not
forceful or serious and they are for spectators to enjoy.
The use of the
voice documentary is still seen in a traditional way in some cases as the
commentary spoken by an off-screen or unseen narrator has been regarded as an integral
part of the
attempt to persuade
the viewer that
this is an authoritative speaker in control. However,
most documentary’s focus closely on the “Voice of God” narration. Reality
programmes still depend on the unseen voice but not in a serious manner like a
typical documentary.
Big brother interacts with the wider definition of
documentary. This is due to the conventions the programme has in relation to
other documentary programmes. For example: Big brother has a voice over as does
traditional documentary’s. It is seen through the classical observation mode
which also many other documentaries are too.
The use of close up’s to show emotions and the different purposes which
documentary’s show such as: to entertain, shock, educate and many more which
Big brother does in different ways.
The programme
Big brother also uses the camera technique “fly on the wall” as the viewer can
see the events happening just like a fly can. It is also possible for
participants to be interviewed as well by an off screen voice. This is shown in
big brother also as the contestants are seen in the Big brothers Diary room
when talking to big brother. The spectator cannot see the interviewer just the
interviewee. Fly on the wall grabs the viewer and makes them feel like they are
watching from a very personal level. When the spectator see’s the contestant in the
diary room this is the most personal time in the house. This is because the
contestant is on their own away from the other house mates but still on camera.
Over the years contestants have cried, screamed and broke down talking to big
brother. This shows a high level in the entertainment factor and this is why
this programme is clever as audiences want to see the weak side of the
contestants. Big brother allows this by the isolation and closure the
contestants have from the outside world as they are closed off from everything
such as family, friends, television, internet and many more.
To conclude my
essay when comparing reality television, factual programming and traditional
documentary’s each show a relation through documentary. This is due to them all
having the codes and conventions of which a documentary should have. Reality
television is more for entertainment purposes to keep the audience on board but
still has its documentary factors. When
the rise hit the UK in the 20TH century there was a great change in
commercial environment when reality television and factual programming changed broadcasting. More and more people began to watch
programmes such as big brother and Made in Chelsea and the only way is Essex.
This is because a wide range of audiences can relate to it. It also for fills
the requirements of a documentary format in a contemporary society as it is up
to date with the new world but still holds documentary traditions and allows
space for a wider and bigger audience.
Bibliography
Beattie, Keith (2004) Documentary
Screens: Non-Fiction Film and Television, Basingstoke: Palgrave MacMillan
Bignell, Jonathan (2011) Docudramatizing
the Real: Developments in British TV docudrama
Since1990 Studies in Documentary Film, 4
Kilborn, Richard (2003)
Staging the Real: Factual TV Programming in the Age of Big Brother,
Manchester: Manchester University Press.
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