To understand television programmes and how they are organised, it is important to look at the different kinds of programmes and how they are standing in context with other programmes. Every programme has its own conventions, codes and signs and this is why it is divided in different genres. In this essay I will try to find out, if it makes a difference whether television programmes are subdivided into genres and if it influences the production of a programme and also the consumption of the viewers. The examples used for this discussion are two different television programmes. One is the reality TV show “The Osbournes” which was first broadcasted in 2002 on the music channel “MTV” and than on Channel four; the other one is the news programme “BBC News at ten” which is broadcasted on BBC one.
As a second media form I will take the two popular British newspapers “The Sun” a tabloid format newspaper and “The Times” printed as broadsheet format.
Table of Contents
1. Introduction
2. The concept “Genre”
3. Genre evaluated by two different television programmes
4. Genre evaluated by two different newspapers
5. Conclusion
6. References
Research Objectives and Themes
This essay explores the influence of genre on media production and consumption, investigating how formal conventions and codes shape viewer and reader experiences. By comparing television programming and newspaper formats, the work aims to determine if genre remains a relevant framework for categorizing content in a modern media landscape.
- Theoretical definitions of the concept “genre”
- Application of semiotic codes in television programming
- Comparison of reality TV versus news broadcasting formats
- Distinctions between tabloid and broadsheet newspaper genres
- Economic pressures impacting generic conventions and media production
Excerpt from the Book
3. Genre evaluated by two different television programmes
Every television programme has its own features. Reality TV shows are produced in a different way than my other example (TV news). The programme needs to attract the viewer in its own way by using signs and codes which the viewer can identify and understand as the programme he or she wants to watch. The production has to bear in mind that the viewer has an expectation when he/she switches on the chosen programme.
Both programmes “The Osbournes” and the “BBC news at ten” belong to the factional/ realistic programmes and should be based on truthful events.
The news informs the viewers about what happened or will happen in the world, while “The Osbournes” can be placed in the amusement genre. Off course it informs the viewer as well about what happens in the famous family, but it doesn’t really influence the life of anyone and it doesn’t show serious topics.
Someone who watches the “BBC news at ten” will probably know what he/she can expect, because the programme has been broadcasted since October 2000 and it replaced the former “Nine o’clock news”. About five million people watch it every day which make it a very famous programme. Most people watch it in context with other programmes that are broadcasted before or after the news.
Television news is a specific genre that has a lot of extreme semiotic codes and signs and which a viewer can easily identify as such.
Summary of Chapters
1. Introduction: This chapter outlines the importance of genre in organizing television and identifies the specific examples—"The Osbournes," "BBC News at Ten," "The Sun," and "The Times"—used for the discussion.
2. The concept “Genre”: The author defines genre as a tool for categorization originating from Aristotelian literature and traces its evolution into modern media studies.
3. Genre evaluated by two different television programmes: This chapter analyzes how semiotic codes and scheduling differentiate reality TV from news programming in order to meet audience expectations.
4. Genre evaluated by two different newspapers: The author compares tabloid and broadsheet formats, focusing on how linguistic and visual signs are used to target specific demographics.
5. Conclusion: The summary posits that while genre remains a useful analytical tool, economic factors and changing consumption habits are increasingly blurring traditional boundaries between media categories.
6. References: This section lists the academic sources and texts cited to support the arguments regarding media semiotics and production studies.
Keywords
Genre, Media Studies, Semiotics, Television Production, Media Consumption, Reality TV, News Broadcasting, Tabloid, Broadsheet, Audience Expectation, Media Codes, Broadcast Schedule, Journalism, Media Economics, Cultural Analysis
Frequently Asked Questions
What is the primary focus of this assignment?
The assignment examines how the notion of genre functions as a framework for understanding both the production and the consumption of contemporary media content.
What media forms are used as primary examples?
The author analyzes television programming and the newspaper industry to illustrate how genre-specific conventions are applied in practice.
What is the central research question?
The work asks how genre subdivisions influence the way media programmes are produced and how these distinctions affect viewer and reader reception.
What scientific methodology is utilized?
The study employs a comparative analysis approach, utilizing semiotic theory to evaluate signs, codes, and conventions within chosen media examples.
What does the main body address?
The main body breaks down specific case studies—specifically news versus reality TV, and broadsheet versus tabloid newspapers—to demonstrate how producers use generic codes to target specific audiences.
Which keywords best characterize this work?
Key concepts include Genre, Semiotics, Media Consumption, Media Production, and Audience Expectation.
How does the author define the role of the "BBC News at Ten" music and dress code?
The author argues that these elements act as essential semiotic codes that signify "seriousness" to the viewer, distinguishing the news genre from other television content.
Why does the author conclude that genre boundaries are becoming less relevant?
The author suggests that in a postmodern media environment, producers are increasingly experimenting with and disrupting generic conventions to maximize profits and keep viewers engaged across diverse schedules.
- Citar trabajo
- Anonym (Autor), 2004, How can notions of genre help to understand media production and consumption?, Múnich, GRIN Verlag, https://www.grin.com/document/34509
