British Television Essay

Soap opera is the most popular genre of television programming crossways the globe and has been the leading favourite of British television for the past forty-six years. The trend evolved from the radio slash operas of the 1930s and 1940s, surfacing first in the United States and later spreading across the world. It attracted large audiences consisting chiefly of female listeners and with the growing popularity of television it soon became firmly rooted on the screen.The long running enthronement Street was the first British muck opera to collide with a significant have-to doe with on UK turn in 1960s. Its aim was to target mainly working relegate people in creating a microcosm of the working world we live in, focusing on naive pragmatism as opposed to the escapism forms of the American exclusives. In order to conclude on whether the dominance of this genre is beneficial or detrimental to the emerging welf ar of British frolic, Im going to study the pros and cons of soa p opera as a form of British Television.Over the years soap operas thrust been continuously praised and condemned by the planetary humankind and despite of its popularity the genre continues to carry the connotation of a degraded cultural form of television drama. on that point is the common belief that soap operas are for those with simple tastes and limited capacities, for the content and style of them are unable to truly ch aloneenge the attestors in the same way that the more sombre single drama can. However, it is a known fact that soap opera is the most complex narrative form of all television drama requiring prior knowledge from its audience.David Buckingham (Public Secrets EastEnders and its Audience) mentions the mental demands that soap operas require from a viewer focusing on the ability to recall past events when cued, to look into the future and speculate about forrader coming events and to use the multi-plot narrative for lateral reference. Hence although the c ontent may not be truly contest it would be wrong to say that soap operas require nothing from their audiences for it is a general assumption that the average viewer is a fan of the show.Yet, it has been labelled as little more than mastication gum for the eyes (Richard Kilborn in Television Soaps), a harmful and corrupting product of broadcasting that feeds the soap viewers addictions with the so-called mindless forms of entertainment they offer. Issues of influence over audience and the affects that the content may have on its viewers cause much controversy. There is the belief that as an active audience we are in control and therefore choose whether we scout something more challenging or something that we can watch unfold in front of us, no questions required.For this reason we also have the ability to see whats real and what isnt, and yet, we have the c at oncern of cultivation differential, where the viewer begins to accept the values portrayed in the soap operas as their own, or more so than the values of the world we live in. We must quest ourselves then whether soap operas are an accurate portrait of life today and with regards to this, how harmful can the programmes be if the audience begins to take the soaps values as their own?British soaps are watched for their realism having become our virtual communities, doing more to break down social and class boundaries than any government leader could ever do (Mal Young, BBC Televisions head of drama series). They cover a diverse crease of issues, in particular domestic, from storylines of health, relationships, business and family, to the ever so popular murder and death. Based, for the most part, on problems go through within personal relationships and family life the content of the soap is fundamentally humanised, and thus we find the lifestyles led on screen are not so different from our own.They attempt to represent the realities of a working class life and confront many of the problems faced i n our familiarity, exploring all the different possibilities and affects of such struggles but never claiming to offer a single solution. The realism of these soaps is emphasised more so by the reasonably subdued pace at which the narrative is allowed to progress appearing more or less to be unravelling in real time. Viewers can often identify with the stereotype characters of the drama series that become nigh existent to them.However, there are much bigger dramas in our world than domestic murder and by resorting to melodrama its as if we are choosing a more safe and cosy view of society. So, should our soap operas be more demanding of their audiences, and should they be tackling greater issues becoming more corresponding the golden ages of television when the programmes were revolutionary, making an impact on the viewers? I would argue that times have changed and soap operas, whether focusing on realism or glamorous escapism, are a form of harmless therapy for viewers to turn to, becoming a part of that world and forgetting theirs.It is in single drama that we look to be challenged and if soaps began to address the more real issues, encouraging us to question and think then I feel the need for single drama would soon disappear. Its not so much the form or content of soap operas that may be detrimental to future welfare of British drama, but the way is dominates our television schedules. The real risk is that other forms of drama with perhaps more important/ meaningful messages may be overlooked and that is where we may lose revolutionary television.Its alarming how many hours of soaps and docu-soaps (reality programmes) are choking up vast swathes of airtime like pondweed (Adam Sweeting Soap Springs Eternal Guardian website). The former values of Lord Reith seem almost non-existent, for the once precious airtime to show variety is now seen as a mere tool for audience shares. The control of this phenomenon has led television companies to believe that t he somewhat cheap and open ended formats of soap operas are a much safer option than striving to make new original programmes with a challenging voice.The soaps do what they do well, but that doesnt mean that should be the only form of drama on T. V, or that they should be the only sources of good, inte proportioning actors (Christine Geraghty ). Soap operas are beneficial in that they tackle the smaller issues in our society leaving room for other forms of drama to make greater impacts with more challenging storylines, confronting the greater policy-making issues like terrorism and racism. The fact that soap operas are continuous and avoid narrative closure would make it more difficult, I believe, to create a strong drama series about a deeply serious and ongoing issue.They are good at showing the domestic issues that many encounter and should rest at that. What is destructive to the welfare of British drama is that television companies are now avoiding more challenging storylines and forms of drama with the fear that they will lose money. Soap operas can easily recover but a single drama either works or flops. I feel that a balance is requisite in that we have our intake of soap operas but there are so many crowd our television airtime that any more would be a waste and hinder other forms of more serious drama.I find myself also questioning the continuity of its popularity, for if there are too many soap operas then we see the same issues occurring again and again. The interest may soon die as we render for more challenging material and thus, the necessity for a balance is vital, in having airtime for escaping into another world, realistic or not, without having to think to much, and having time for the more serious programmes where we are left questioning.