Technology: A refreshing approach to programming??

The significant changes in technology has made possible the creation of new styles of recording and editing material. This technology has transformed our communication technology. Digitalisation and fibre optic technology are paving the way to a convergence between television, telecommunications and computer industries, creating new media industries. Big Brother presents footage like that from a web camera continuing the voyeuristic theme of Big Brother while giving an authentic approach to the episodes. Big Brother is a tailored experience, hosting the digital revolution. The creation of programs, such as Big Brother, are examples of a changing television community, adapting to the new broadcasting media.

Television in the twentieth century has led producers to sophisticate programming styles through the aid of technology. The global context in which reality programs are produced has constructed large media conglomerates becoming international identities. While the creation of this media genre was created in response to economic hardships faced by networks, production techniques are of a non traditional nature. Labour for the storyline is created through scripted situations by the production team, cameras work and production inputs, sets, props and costumes all set the narrative. Production budgets meant that programs are advertiser driven, making new markets open to consumers, such as merchandise. In the 1990s the economic environment affected both free to air and pay television networks. This environment led to a situation where distribution affected production. The rapidly changing costs in network television started independent productions. Network standards and practices departments implemented self censorship as a cost cutting device. Big Brother embraces low production costs and instead of paying for celebrities to be involved with the show they create instant celebrities from the characters on the show.

Whose reality is this??

“Reality television is not the end of civilisation as we know it; it is civilisation as we know it. It is popular culture at its most popular, soap opera came to life.” Germaine Greer.

The commercial success of Big Brother demonstrates significant changes that occurred within commercial entertainment industry. The recognition of those working in the media industry acknowledged that audiences are becoming increasingly knowledgeable (and cynical) about the strategies used in the construction and delivery of various forms of factual entertainment.

The structure of the program itself, runs like a drama. Narration is provided to divide the multiple storyline, usually three per episode. Big Brother’s open narrative and storyline is determined by the housemates, making the construction of reality in the program vital to the flow within the episodes.

The physical separation between the ‘worlds’, Big Brother house and the outside world, makes for a spectacular realisation of the fundamental aspect of the show, it’s a game. There is no reality like it, specifically created situations and characters for ratings and appeal. Within reality television there are three formats programming can take. Programs may include real footage instead of studio based programming, have a structured narrative like a documentary, or function as a game show.

Big Brother is classified as a docu-soap. Within this format, a series, cliff hanging, segmented narrative with multiple narratives, viewers are introduced to character and are pushed to develop relationships to the characters and the program is filmed from one location and this location becomes increasingly familiar to viewers. The docu-soap is created to define reality itself. Drama at any cost approach to programming.

I think the biggest impact that reality television and Big Brother in particular have on society is that it forces audiences to define their own notion of the ‘real’.

The key to reality programming: Big Brother

Big Brother was originally created at the end of the 1990s in Holland. Big Brother used the combined technology of the new digital production system, radio microphones, and cameras with high speed editing features. These production elements are now considered an industry standard.

Big Brother and the development of new technologies, such as broadband internet meant that images can be live streamed and are easily broadcasted over the internet. It is this quickly accessible broadcast market that gives producers an opportunity to meet market demands and create higher amounts of revenue.

The structure of Big Brother filming itself promotes confrontation between housemates. Camera and lights are positioned within the house for creating an ultimate recording location. Although being internationally traded, Big Brother Australia adapted to local culture and showed national stereotypes. It is the inclusion of these styles of characters that evokes the ‘scripted’ cynicism surrounding reality television. Big Brother in effect is a studio based production. Original marketing for the program surrounded the concept of a social experiment that aimed to explore the patterns of interaction and the development of interpersonal relationships between people from different social backgrounds.

The Big Brother house is in a sense a set, created for filming the program. With the placement of both surveillance cameras and microphones, every movement and conversation between housemates is captured. I think that the use of this technology is staging ‘reality’, so the question is then what is reality??

Bignell described Big Brother as a tailored experience has not only helped emerging technology but also relieved the economic pressure on broadcasters, offering a cheap alternative to programming.

History of Reality Television: the phenomenon of Big Brother.

As my first blog I wanted to go over the history of reality television, why did it become such a big hit with consumers, what are the most successful shows in this genre and how did the history of reality television shape the genre’s structure today?? The establishment of reality television transforms the media landscape. Reality television is a tangible consequence of the growing commercialisation of broadcasting. The exhibition of ‘real life’ attracts the attention of the wider public. While reading “Staging the Real: Factual Programming in the Age of Big Brother” I realised that the success of the new reality formats was that they were exactly that, NEW. This program style was something completely new, an interesting approach to audience engagement.

The general points about the structure and creation of this style of programming are as follows: The broadcaster is driven into creating a relatively inexpensive program, complementing existing programs exhibited on the network, light entertainment, maximum entertainment opportunity fashioning this for specific requirements, a market driven approach to television and the hybridisation of genres. The use of ‘real’ performers may explain the majority of the success of this genre. The viewers’ recognition of how other people live their lives mirrors real life.

To make a definition of the genre first the relationship between genres should be established, along with the similarities. To evaluate reality television depends on identifying what it is, what makes reality television different from other styles of programming, blurring the intertextual elements of the media’s practices. Since the development of television as the main broadcasting medium, programs have been classified, creating a ‘branding’ system. The development of new technologies made it possible for greater creative control to creators. Since the release of this technology to the consumers, the reality television genre took centre stage within television programming. Now that this new technology is available to the consumer anyone is able to produce a product. Specific generic expectations of the reality television genre include using natural light and recording synchronised sound and using a light weight digital video recording material. Reality television became a convenient style of programming and was quickly produced by networks. Reality television wanted to educate and inform the public about real issues, but I think quickly changed into a situation of exploitation, where this media structure is not aiming to educate audiences but instead used to entertain. The entertainment of reality television is structured in a way so that programs are a hybrid of genres. This hybrid, drama, sitcom and game show, appeals to the wider audiences. It is the wide spread popularity of this style of programming that ensures the continuation of the genre and specifically pushes advertisers to invest in reality programming. From a historical perspective reality television provided audiences with an opportunity to view situations that would not have socially existed. It is this ‘staging’ of reality that combines the traditional documentary filming techniques within the television market. It seems to me that reality television is now mirrored with discourses of public service. This social microcosm is reminiscent of George Orwell’s book 1984. Initially reality television was considered an opportunity to present consumers/audiences with issues of public concern, such as current affairs programs. It is the public domain of reality television that changed the social position of television.