The soap opera is classed as a woman’s genre in which a fictional discourse of current affairs is discussed as speculated gossip. Charlotte Brunsdon (1995, 1997) has stated that the British soap opera has specific conventions, which make it a soap opera. Realism in a soap opera reflects the issues that are evident in society today and recognised by a female audience, allowing the viewer to connect with specific plots and characters. Brunsdon had become interested in the sudden intriguing criticisms of the feminist critics who argued about how the representations of the personal home life became an intriguing object of study.
Table of Contents
1. Soap Opera: Realism, Spectatorship and the Female Audience
2. Women And Popular Culture
Research Objectives and Themes
This paper examines the soap opera as a gendered cultural construct, specifically investigating how its narrative structures and conventions resonate with the female audience. It explores the intersection of realism, feminist critique, and the role of the soap opera in shaping the identity of the 'ideal mother' within the context of daily personal life.
- The role of realism (internal vs. external) in soap opera narratives.
- Feminist perspectives on personal life as a significant object of study.
- The relationship between soap opera scheduling and the daily life of women.
- The construction of the female spectator and the appeal of open-ended narratives.
Excerpt from the Book
Soap Opera: Realism, Spectatorship and the Female Audience
The soap opera is classed as a woman’s genre in which a fictional discourse of current affairs is discussed as speculated gossip. Charlotte Brunsdon (1995, 1997) has stated that the British soap opera has specific conventions, which make it a soap opera. Realism in a soap opera reflects the issues that are evident in society today and recognised by a female audience, allowing the viewer to connect with specific plots and characters. Brunsdon had become interested in the sudden intriguing criticisms of the feminist critics who argued about how the representations of the personal home life became an intriguing object of study. Brunsdon was interested in feminist ambivalence and was intrigued to find out why viewers lied about their viewing pleasure. Since EastEnders and Hollyoaks introduced the soap opera to a younger audience, the profile of the soap had improved with younger viewers and even men watching too.
Also looked at in this study are the views of Tania Modleski (2003) who argued that the soap opera is important to the female viewer as it never ends, just as the continuous trial and tribulations in real life. She also explained that due to the soap leaving cliff hangers at the end of every episode the female viewer is encouraged to continue watching throughout the week to find out what happens next in the dramatic life of the soap opera. Annette Kuhn (1997) has continued that problems with gendered spectatorship make it difficult to determine the ‘female’ or ‘feminine’ spectator and that the feminine subject content of the soap opera transcended the patriarchal modes of subjectivity. Kuhn continued in explaining Brunsdon’s and Modleski’s views on how the ideological and moral framework of a woman’s home life can be constructed at an extra-textual level, which addresses both the female and feminine audience, showing how these constructs are central to the woman’s view and connections with the real world.
Summary of Chapters
1. Soap Opera: Realism, Spectatorship and the Female Audience: This section introduces the core definitions of the soap opera as a woman’s genre and outlines key academic perspectives from Brunsdon, Modleski, and Kuhn.
2. Women And Popular Culture: This chapter provides a detailed analysis of how soap operas utilize internal and external realism to engage female spectators and how their narrative structures correlate with the daily routines and emotional lives of women.
Keywords
Soap Opera, Realism, Feminist Critique, Female Audience, Spectatorship, Personal Life, Gendered Subjectivity, Narrative Structures, Coronation Street, EastEnders, Internal Realism, External Realism, Feminist Ambivalence, Domestic Crisis, Television Theory.
Frequently Asked Questions
What is the core subject of this academic paper?
The paper explores the significance of the soap opera as a 'woman's genre', analyzing how its specific narrative conventions and realism address the female and feminine spectator.
What are the primary thematic fields covered?
The themes include the cultural role of soap operas, the intersection of feminism and popular media, the concept of gendered spectatorship, and the construction of the 'ideal mother' archetype.
What is the primary research goal?
The goal is to understand why soap operas appeal to a female audience and how their structure reflects, legitimizes, and constructs the domestic and personal realities of women.
Which methodology is employed in the study?
The study utilizes a theoretical literature review and critical analysis, drawing on the works of scholars such as Charlotte Brunsdon, Tania Modleski, and Annette Kuhn.
What is discussed in the main body of the text?
The main body examines the theories of internal and external realism, the function of open-ended narratives, the scheduling of programs in relation to daily life, and the evolving representation of women.
Which keywords best describe the research?
Key terms include Soap Opera, Realism, Female Spectator, Feminist Criticism, Domesticity, and Gendered Subjectivity.
How does the author define 'external' versus 'internal' realism in the context of soaps?
External realism refers to the representation of the real world (news, settings, seasons), while internal realism refers to the consistency of characters and their personality traits over time.
In what way does the paper suggest soap opera scheduling affects viewership?
The author argues that soap operas are strategically timed to align with a woman's daily routine, such as after work or school, facilitating 'personal time' for relaxation and engagement with the narrative.
How does the concept of 'feminist ambivalence' relate to soap opera consumption?
Feminist ambivalence refers to the phenomenon where viewers, despite finding pleasure in soap operas, often feel the need to deny or hide their viewing habits due to cultural stigmas surrounding the genre.
- Quote paper
- Lea Weller BA (Author), 2010, Soap Opera: Realism, Spectatorship and the Female Audience, Munich, GRIN Verlag, https://www.grin.com/document/264581
