REVIEW OF RELATED LITERATURE AND STUDIES
The following are reviews that show importance to the study; Foreign Literature, Local Studies and Foreign Studies.
In 2003 the Academy of Television Arts and Sciences added Best Reality Show as an Emmy category (Rowen, 2000) this has led to the development of many types of reality programming formats. The majority of reality television programming is geared towards the individuals under eighteen to twenty-five years old and suggests that younger viewers are drawn to these shows because they depict characters and situations that are relevant to their everyday lives (Frank, 2003). Reality television has gained a spot on network primetime television, where the reality genre shows began to target an older demographic. There is a variety of shows that still target the younger demographic, but now there are more shows that target a much wider demographic (Rowen, 2000).
According to Nabi (2003) examined the genre of reality television programming itself. Multidimensional space analysis, of all television shows, indicates that reality television is a genre that is distinct from all of the other preexisting genres; However, not all reality shows should be considered one cohesive genre. Two dimensions were found in the analysis, with the first one presented as a continuum as to how suited the programs are for primetime slot. The second dimension is fiction real. This is a continuum based on whether the programs were portrayed as fictional or realistic based shows. Some reality and entertainment shows were listed as fictional because for some reason, the audience did not perceive the show as realistic.
Some individuals included shows that were not necessarily reality based in their definition of reality programming because they perceived the shows as unrealistic like soap operas. Therefore, when studying reality television it is important to examine the subcategories within this genre. They include: romantic and culture (Bailey & Barbato, 2003). In this study examined not only reality television viewing as a whole, but also exposure to subgenres of reality entertainment television and reality television shows that people prefer to watch are those that stimulate the motives people intrinsically value the most (Reiss and Wiltz, 2004).
Studies of Silverstone (2000) the role of television in everyday life claims that soap operas on television allow women to engage and associate their own lives with alternative lifestyles and also to engage with contemporary social issues drawn from the complexities of family conflict, love and relationships. Another aspect of soaps as stories of everyday life that contributes to making it a source of mediated reality is that they often choose topical issues circulating within a society (Geraghty & Hobson 2003).
Soap operas are extremely accepted cultural forms, attracting more than 10 million viewers daily, the majority of which are females. From the economic point of view, they produce significant profits for the network. Regardless of their abilities to draw large number of audiences and to produce large profits, soap operas have long been seen as an object of disrespect. One of the criticisms leveled at soap operas is that they are slow-paced. Soap operas are multifaceted, with large characters and plot lines which build up slowly over large periods of time. Viewers tend to get emotionally involved to the characters in a soap opera (Hasan Suroor, 2000).
Viewers themselves penetrate vicariously into the imaginary soap opera community. There are many long-term audiences, some of whom have been watching soap operas for as long as 35 years. Soap operas are planned around a cylindrical cycle of the real world in which viewers live. The lives of characters run corresponding to the lives of viewers in time. Thus it is the time not plot which comes to control the description process...
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