The Multifaceted World of Reality TV

Journal of Humanities, Arts and Social Science, 2023, 7(10), 2126-2132 https://www. hillpublisher. com/journals/jhass/ ISSN Online: 2576-0548 ISSN Print: 2576-0556 The Multifaceted World of Reality TV Ogochukwu C. Nweke Regent University College of Science and Technology, Accra, Ghana. How to cite this paper: Ogochukwu C. Nweke. (2023) The Multifaceted World of Reality TV. Journal of Humanities, Arts and Social Science, 7(10), 2126-2132. DOI: 10.26855/jhass.2023.10.036 Received: September 30, 2023 Accepted: October 29, 2023 Published: November 27, 2023 * Corresponding author: Ogochukwu C. Nweke, Regent University College of Science and Technology, Accra, Ghana. Abstract This article delves into the pervasive influence of reality television, tracing its trajectory from the late 20th century to its contemporary manifestations. Originating as a cost-effective alternative to traditional programming, reality TV has burgeoned, reflecting societal constructs and interplaying with evolving surveillance cultures. While its global ascent was evident, regional variations became particularly noteworthy. For instance, a stark contrast was observed between the enthusiastic consumption in nations like South Africa and India, and the more restrained viewership in countries such as Mexico and Spain. Cultural implications further delineate these patterns, where societal norms impact both content creation and audience reception. The article highlighted the adaptive nature of reality television, which caters to multifaceted audience desires through diverse sub-genres. Moreover, the integration of digital technology has played a pivotal role in shaping both content and consumption patterns. Focusing on West Africa, specifically Ghana, the research highlighted the deep cultural significance of the genre. This region's reality TV programs, while entertaining, epitomize broader socio-cultural reflections, resonating profoundly with both the youthful demographic and the diaspora. However, alongside its merits, the article also elucidated potential pitfalls, advocating for a cautious approach to content creation and consumption. Keywords Reality Television, West Africa, Surveillance Culture, Socio-cultural Reflection, Media Consumption 1. Introduction Reality television, once referred to as "Trash TV" by scholars and commentators, has captivated the viewing habits of individuals in many countries. The global interest in reality television exhibits regional variations, as indicated by a recent study on September 28, 2023, conducted by Statista's Consumer Insights and authored by Katharina Buchholz. South Africans and Indians are notable for their high consumption of this genre, displaying a strong affinity for talent contests, celebrity dramas, and lively cooking competitions. In contrast, it is observed that audiences in Mexico, Spain, and France demonstrate a higher level of restraint, as only a small percentage of their populations, ranging from 10 to 20 percent, engage in the consumption of reality television programming. In the United States, it has been observed that approximately 36 percent of the television and streaming audience has a preference for reality TV shows (Buchholz, 2023). Below is a figure illustrating the diverse viewership patterns of reality TV across various countries of the world (see Figure 1). DOI: 10.26855/jhass.2023.10.036 2126 Journal of Humanities, Arts and Social Science Ogochukwu C. Nweke Figure 1. Latest Details of the Highest Viewers of Reality TV around the World. Source: Statista (2023). 2. Historical Origins and Evolution Reality television, although popularly associated with the late 20th and early 21st centuries, has roots that can be traced back further. Early reality programming, such as "Candid Camera" in the 1940s, offered audiences a glimpse of unscripted, genuine reactions from ordinary individuals placed in unexpected scenarios (Barnhart, 2004). While these shows were primitive compared to today's intricate and multifaceted reality programmes, they laid the groundwork for what was to come. The 1970s saw the debut of "An American Family", which is often credited as the first genuine reality television show. It chronicled the daily lives of the Loud family and introduced audiences to a format that was neither news nor fiction – a prototype for the modern-day documentary-style reality series (Ouellette & Hay, 2007). By the 1990s, technological advancements, particularly in camera and audio equipment, made it feasible to produce these shows more broadly. The success of "The Real World" in the 1990s and "Survivor" at the turn of the millennium marked the transformation of reality TV from a novel concept to a dominant television genre (Andrejevic, 2004; Piper, 2006; Buchholz, 2023). This evolution was not merely technologically driven. Economic pressures, including the escalating costs of producing scripted content, played a role in the genre's ascent. Reality TV shows typically required fewer investments than traditional scripted shows, and their potential for high ratings offered lucrative returns on those investments (Bielby & Bielby, 2002; Hill, 2005, 2014). It is worth noting that the emergence of the acclaimed crime reality drama 'COPS' can be attributed partly to the 1988 Writers Guild of America strike, which resulted in a scarcity of scripted programming (Andrejevic, 2004; Buchholz, 2023). During the early 2000s, reality television programming was primarily characterized by romance and competitionoriented formats. However, towards the end of the decade, there was a notable increase in the popularity of reality series centred around celebrities, daily life and survival scenarios (Murray & Ouellette, 2009. One of the pioneering examples of this trend was 'The Simple Life', which aired from 2003 to 2007 and featured Paris Hilton and Nicole Richie (Holmes & Jermyn, 2004; Buchholz, 2023). 3. Reality TV Formats and Sub-genres The ever-evolving world of reality television has continuously adapted to cater to shifting audience preferences, leading to the birth of various formats and sub-genres. This adaptability has played a pivotal role in the genre's DOI: 10.26855/jhass.2023.10.036 2127 Journal of Humanities, Arts and Social Science Ogochukwu C. Nweke sustained popularity over the decades. The documentary-style reality show, one of the earliest formats, provided viewers with an unfiltered gaze into the lives of ordinary people or specific professional sectors. Series like 'The Real World' and 'COPS' epitomised this format, offering a semblance of raw, unedited reality (Andrejevic, 2004). Next, the competitive reality format surged to the forefront, largely driven by shows like 'Survivor' and 'The Apprentice'. These shows introduced game elements, challenges, and eliminations, creating a narrative arc that kept viewers hooked from episode to episode. Not only did they offer entertainment, but they also provided insights into human behaviour under pressure (Hill, 2005). The 2010s saw the rise of the reality dating sub-genre, with shows like 'The Bachelor' and 'Love Island'. These shows delved into romantic interactions, often in exotic or isolated settings, offering both romance and drama (Ward, 2002). Lastly, a noteworthy evolution has been the hybrid reality format, combining elements from different sub-genres. Shows like 'The Kardashians' amalgamate elements of personal documentary with the drama of soap operas (Holmes & Jermyn, 2004). The constant reinvention of formats ensures that reality TV remains fresh, catering to diverse viewer groups. This evolution also mirrors societal changes, with newer formats addressing contemporary issues, challenges, and fascinations. 4. Cultural Implications and Regional Variations The allure of reality television transcends mere entertainment; it is deeply intertwined with the cultural fabric of societies. Reality TV often acts as a mirror, reflecting societal values, beliefs, and aspirations while simultaneously influencing them (Couldry, 2003). For instance, the popularity of talent shows in countries like India and South Africa can be linked to deeply-rooted cultural values that celebrate artistic expression and the narrative of 'rags-to-riches' – a testament to the ethos of hard work leading to success (Banerjee, 2011). Conversely, the more restrained consumption patterns in countries such as France and Spain might be indicative of cultural preferences that lean towards art-house cinema, traditional television dramas, and a somewhat sceptical view of commercialised entertainment (Hidalgo-Marí et al., 2022). In Japan, reality TV shows like "Terrace House" subtly represent societal norms, with emphasis on harmony, respect, and subtlety, contrasted with Western reality shows often lauded for overt drama and individualism (Eppinger, 2020). 5. Reality TV in West Africa: Beyond Entertainment Reality TV's surging prominence in West Africa underscores a cultural shift in the media landscape, resonating profoundly with regional demographics. Within this milieu, Ghana has evolved as a crucial nexus. Over the past decade, Ghanaian television networks have broadcasted numerous reality shows that traverse diverse thematic arenas, ranging from talent showcases to the inculcation of entrepreneurial proficiencies (Ghanaweb, 2023). Indeed, television programmes such as 'Ghana's Most Beautiful' (on TV3) transcend mere entertainment. By foregrounding the cultural heritage and heterogeneity of Ghanaian women, such initiatives endeavour to forge stronger intra-national unity and cultural appreciation. Similarly, 'MTN Hitmaker' is not merely a celebration of music; it is an epitome of the rich musical tapestry of the region, birthing new artists who resonate with both local and international audiences. Yet, Ghana is not an isolated example. The broader West African spectrum is abuzz with reality TV phenomena. 'Big Brother Naija', originating in Nigeria, is not confined to its national boundaries. Its viewership stretches across the continent, a testament to its broad appeal and its adept intertwining of pan-African themes with universal human narratives (Ukah, 2009). Several socio-economic catalysts propel this trend. A burgeoning youth demographic, thirsty for content that mirrors their aspirations and challenges, is undeniably a force multiplier. The proliferation of satellite and digital television has democratised access, eroding erstwhile barriers and engendering a more inclusive viewership (Essoungou, 2010). Moreover, there's an observable gravitation towards content echoing local sensibilities—stories, challenges, and triumphs that reverberate with West African cadences (Pahad et al., 2015). Another pivotal aspect to consider is the role of diaspora. With significant West African communities settled DOI: 10.26855/jhass.2023.10.036 2128 Journal of Humanities, Arts and Social Science Ogochukwu C. Nweke abroad, reality TV becomes a conduit to reconnect with their roots. Shows broadcasted in West Africa find audiences in Europe, North America, and beyond, amplifying cultural exchange and fostering a broader sense of community (Okome, 2007). To encapsulate, the ascent of reality TV in West Africa is not just a mirror to evolving entertainment preferences; it is emblematic of deeper socio-cultural metamorphoses, reflective of a region that's confidently negotiating global paradigms while cherishing its distinctive identity. 6. Reality TV Production and Behind-the-Scenes Dynamics The production process of reality television is a blend of pre-planning and spontaneous events, often differentiating it from traditional scripted television. However, many misconceptions surround how 'real' reality TV is (Escoffery, 2006). One critical aspect is casting. Producers often seek participants who have strong, contrasting personalities to ensure drama and friction, which in turn can boost ratings (Kavka, 2008). Sometimes, participants are briefed on particular roles they should play, even in supposedly unscripted shows. Then there's the manipulation through editing. With hundreds of hours of footage for a single episode, editors have significant power in crafting narratives. A seemingly innocuous conversation can be made dramatic by cutting, rearranging, and using suggestive background scores (Hill, 2005). This gives producers the ability to create 'villains', 'heroes', and specific story arcs that may not fully align with actual events. Additionally, reality TV relies heavily on the use of confessionals – individual interviews where participants talk directly to the camera, sharing their feelings and perspectives. These segments are often shot retrospectively and can be prompted or guided by off-screen producers to generate particular reactions or narratives (Orbe, 2008). Lastly, producers can also influence the environment, introducing external challenges or restrictions to induce stress, camaraderie, or competition among participants, further heightening the drama. 7. Economic Implications of Reality TV Reality television has not only influenced culture and viewing patterns but has also had profound economic implications on the media industry. Firstly, reality TV is generally less expensive to produce than scripted shows. Without the need for high-paid actors, writers, or intricate sets, networks can produce content more economically (Biressi & Nunn, 2005). This cost-effectiveness means higher profit margins, especially if a show garners significant viewership. This genre has also introduced innovative revenue streams. Voting-based reality shows, where viewers send SMS votes for their favourite participants, have generated massive revenues. For instance, during the peak seasons of 'American Idol', it was estimated that the voting mechanism alone added millions to the show's profits (Mittell, 2010). Reality TV also fosters lucrative advertising opportunities. Shows with high engagement rates become prime real estate for advertisers, often leading to product placements within episodes. This embedded marketing can be more subtle and impactful than traditional commercial breaks (Calvert, 2008). Moreover, successful reality TV stars often transition into brand endorsements, book deals, or even their spin-off shows, creating an extended revenue cycle. Shows like 'Keeping Up with the Kardashians' have spawned multimillion-dollar empires, leveraging their reality TV fame (Turner, 2013). Furthermore, with the global reach of streaming platforms, many reality shows have found international audiences, leading to franchising opportunities. Shows like 'Big Brother' and 'The Voice' have seen adaptations in numerous countries, each catering to their local audience but paying licensing fees to the original creators (Doyle, 2010). 8. Societal Impacts: A Mirror and a Model Reality TV, for all its glamour and drama, functions both as a mirror reflecting society's values and a model setting new behavioural standards. This dual role has led to significant societal impacts. Reality TV's mirror function manifests in the way it showcases diverse individuals, sometimes thrusting ordinary people into the limelight (Holmes & Jermyn, 2004). This relatability has demystified celebrity status, leading many to believe that fame is within reach for everyone. On the other hand, this mirror can distort, selectively amplifying stereotypes or presenting skewed versions of reality (Couldry, 2003). The modelling function of reality TV, where it serves as a guide for behavioural norms, is equally potent. Shows DOI: 10.26855/jhass.2023.10.036 2129 Journal of Humanities, Arts and Social Science Ogochukwu C. Nweke that glorify aggressive competition, for instance, can subtly propagate the idea that cutthroat behaviour is not only acceptable but rewarded (Nabi et al., 2003). Similarly, reality dating shows can mould perceptions of romance, with potential implications on viewers' real-life relationship expectations (Ward, 2002). Furthermore, the participatory nature of some reality shows, where viewers vote or opine on social media, has fostered a heightened sense of community engagement. This has been observed to translate beyond the screen, with fans organising fundraisers or advocacy campaigns inspired by their favourite reality TV moments (Jenkins, 2006). However, there are concerns too. The constant surveillance aspect of reality TV has normalised the idea of being always watched, potentially eroding personal privacy standards (Andrejevic, 2004). Also, the rise of instant fame due to reality TV has blurred the lines between earned achievement and fleeting notoriety (Turner, 2013). 9. The Allure and Impact of Reality TV The evolution and adaptability of reality TV have been truly unparalleled. This genre boasts a vast array of subgenres, ranging from documentary-style productions to competitive game formats and romance-driven shows. Intriguingly, the ascension of reality TV can be correlated with a larger societal gravitation towards a surveillance culture. In this evolving landscape, individuals have grown more comfortable both as subjects under observation and as observers themselves, facilitated by technological advancements (Andrejevic, 2004). This synergy between reality TV and surveillance culture has culminated in a 'participatory culture'. No longer are viewers mere passive recipients of content; they now play an active role in contributing to, discussing, and engaging with the narratives they watch (Jenkins, 2006). Delving into the psychological intricacies of reality TV's appeal reveals deeper layers. Academic discourses suggest that such shows offer a platform for viewers to identify, introspect, and perhaps even evolve. Hill (2005) has posited that reality TV mirrors societal constructs, reflecting its hopes, principles, and underlying tensions. This genre masterfully balances escapism with realism; while the allure of entertainment and drama remains a pull factor, audiences are equally captivated by its ostensible portrayal of 'real life' and genuine individuals (Couldry, 2003). However, reality TV is not devoid of criticisms. Its portrayal of 'real life' can, at times, be misleading. Production techniques, such as selective editing, intentional staging, or even scripting, are employed to heighten the drama, potentially distorting genuine narratives and perpetuating stereotypes (Escoffery, 2006). The incessant observation and the resultant pressures associated with being perpetually 'on show' can adversely impact participants' mental wellbeing. Many grapple with the challenges of public scrutiny, cyberbullying, and heightened stress (Nabi et al., 2003). From an audience perspective, particularly among younger demographics, there are legitimate concerns about internalizing the aggression, materialism, and shallow values that some reality shows might propagate (Bryant, 2014). Moreover, the overwhelming presence of reality TV on certain broadcasting networks may inadvertently stifle the creation and broadcast of more intellectually stimulating and artistically rich content (Collins, 2009). 10. Ethical Considerations in Reality TV Production The production of reality TV is fraught with ethical dilemmas that often go unnoticed by the casual viewer. Producers wield significant power over the depiction of reality, potentially shaping narratives and characters to align with a predetermined storyline. Firstly, there's the matter of informed consent. Participants, especially in earlier seasons of various reality franchises, may not have fully comprehended the level of scrutiny and potential backlash from audiences (Escoffery, 2006). Given the lack of precedents in the early days of reality TV, participants couldn't fully anticipate the ramifications of their appearances, leading to possible breaches of ethical informed consent. Another significant concern is the manipulation of reality. Through techniques like "frankenbiting" – a practice where unrelated pieces of conversation are stitched together to fabricate an entirely new dialogue – producers can portray participants in misleading lights (Orbe, 2008). This not only betrays viewer trust but can have lasting repercussions on participants' public images. Mental health considerations are paramount. The pressure of constant surveillance, coupled with potential isolation from loved ones and the broader world, can create a psychologically intense environment. Some participants have reported post-show trauma, anxiety, and depression, questioning the ethical practices of reality TV production (Nabi et al., 2003). Lastly, there's the matter of perpetuating stereotypes. Some show inadvertently (or intentionally) amplify racial, DOI: 10.26855/jhass.2023.10.036 2130 Journal of Humanities, Arts and Social Science Ogochukwu C. Nweke gender, or socio-economic stereotypes for the sake of drama or humour. This not only misinforms viewers but also furthers societal divisions and biases (Dubrofsky & Hardy, 2008). For reality TV to sustain its credibility and viewer trust, it is essential for producers to engage ethically, ensuring participant well-being, authentic portrayals, and a genuine reflection of diverse realities. 11. 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