Depth Study: Popular Culture

Key concepts
 Access- the ability of persons in society to consume popular culture. Without widespread access, popular
culture cannot exist. Who has access and how do they get it?
 Ideology – the system and ways in which we view the world
 Socialisation- the factors that influence who you are as a person an what impacts your views and what is
considered to be socially acceptable. Norms created by various popular cultures can influence the way you
behave.
 Conflict- issues that arise between individuals, groups and societies. Popular cultures can both spark and
diffuse conflict. Is there consensus or disagreement over the values attached to your popular culture or
the time spent interacting with that popular culture?
 Change- a key aspect of popular culture is that they change over the time. The rate of change may vary
but there is a constant development and innovation of popular culture
 Consumption- refers to you and the way one interacts with the popular culture. Aspects such as time/
money spent on associated commercial products. Also, reactions to the popular culture are included.
 Globalisation- the process of breaking down barriers between nations has been sped up by popular
culture. It operates across national borders fostering a connection between nations. It is mainly a western
concept as transnational companies (TNC’s) and consumers have more disposable income to spend on
popular culture
 Institutional power- the degree of power that established systems such as the government, businesses or
religious groups may hold over consumers and what is produced. It may be concerned with standards,
regulations and revenue.
 Continuity- the extent to which a popular culture has remained constant over time. it may be the basic
elements or the primary activity while other aspects have changed greatly.
 Self- refers to you and how you perceive yourself. It also include the way in which interacting with popular
cultures can shape your identity, self-perceptions and perceptions of others.
 Influence- the degree, to which aspects of popular culture, whether that is ideas businesses, time etc,
directs the thoughts, actions or time of people towards something they would not normally adhere to.
These can be positive and negative influences.
 Mythology- the creation of fictional characters, plots and ideas. They may be based on truth but have
since been embellished and serve to maintain society’s interest in order to increase revenue.
 Identity- engaging with the popular culture provides the consumer with a particular identity (i.e. surfing
culture). Common traits, language, actions and interests form part of group identity. It also incorporates
self-identity.
 Heroes- are used to represent current social values and ideals, appealing to mass audience and thereby
attracting consumers.
 Text- any forms of symbolic representations of meaning that take on physical form, for example, writing,
film, television, pop stars, and sporting events and so on.
 Ideology- maps of meaning in which they are represented as universal truths are historically specific
understandings that obscure and maintain power.
 Hegemony- implies a situation where a block of powerful group exersise social authority and leadership
over subordinate groups through winning their consent.
 Paraphernalia- items or equipment that accompanies popular culture
 Revenue- the income of government from taxation duties, customs or other sources. Appropriated to
payment of public services

1. identify the distinguishing characteristics of popular culture

Associated with commercial products- the accessories, upgrades, stationary, food products associated with the popular
culture help generate more money and create widespread familiarity to the popular culture.

Development from local to national to global level- after success on a small scale, popular culture moves onto to national
level where consumers of similar cultural norms are able to guarantee the rising popularity of the product. Then it can
release its potential to the international market where the profit motive plays a huge role in the expansion. The rate of
development is now rapid due to technology and ready access to international media (news, live reality TV).

Allowing of wide spread access- access is dependent on a range of factors

 environment: rural opposed to urban, dominant energy sources

 micro: influence of media upon family
 affluence: rich vs. poor
 portability
 Institutional power: i.e. the government controls the censorship, codes of practice and preservation of traditional
cultures. Music clips, advertisements, video games and movies can be banned from Australia for explicit content.

Constant changing and evolving- In order to satisfy consumers and maintain popularity, PCs must adapt regularly with
society’s changing rends and preferences. It is also in the producers interests to stimulate change, creating a ‘need’ to
consume or ‘keep up’ to generate more profit. An example can include the iPhone 5, the latest from apple consisting of a
new charger different to the universal past editions.

2. examine (inquire into) interaction with popular culture

Name of Popular Culture The Simpsons Football (Soccer)

Engagement per month Daily Weekend
Money None (data used to download Registration (100 for the year)
episodes) 20 to attend an elite game
What does it provide Enjoyment, pastime, entertainment, Sense of identity, entertainment,
sense of identity health and wellbeing
Characteristics of followers Everyday people, satisfies all audiences Participation, love for sport,
regardless of age competitive combined with fun
Associated products Toys, show bags, attire Jerseys, toys, posters, sponsorships
(i.e. gillete ads)
Where/ when developed America, 1980’s England, 19th century
How accessed Free to air television Local community, television
How it has changed/ evolved? Graphics due to excelling technology Video referee, no scores recorded for
Continuity- characters (apart from games with children <10
cameo appearances

Focus study- Australian Television

3. Trace the origins of popular culture-

Origin- first picture produced in England 1878 (experimentation). Post 1953 colour television was introduced. Only became
open to English public in 1930s. Public broadcasting occurred in the 1930’s, rapidly developed post WW2. Television
became the dominant form of media mid 1950s, overtaking cinema and becoming a leading role in production and
consumption of popular culture. In Australia, television started in 1956. Prime time until in 1963, almost all program
material was of foreign origin. Furthermore, 95% of television revenue derived from advertising for mostly all TNC’s.

4. Outline the development from local to national to global level

Local Development- only in the 1960s local stations was introduced to bring about local affairs, news and weather.

National Development-

 First introduced in Australia in 1956, “Good evening, and welcome to television.”- Bruce Gynell
 first channels were Seven and Nine, mainly covering news.
 Colour was first introduced in 1978.
 In the 1980’s Australia began importing foreign programs, affecting cultural identity

Global Development-

 all hardware/ technical origins are created overseas.

 All developments now made elsewhere- surround sound, blue ray, 3d vision, lost antennae etc. , LCD
 expansion was a result of transnational corporations.
 The television has been the driving force behind globalisation
 Shows are viewed worldwide to form new popular cultures like the Simpsons, world cup soccer etc.

5. Consider the role of mythology in creation and perpetuation of popular culture

Mythology involves the beliefs that are created. They may contain some truth but are generally an exaggeration.

Mythology generally exists for commercial exploitation. They depict nuances of everyday life but are exaggerated in
terms of relationships, romance, humour and violence in order to make it marketable, as consumers generally enjoy
watching programs that are an escape from reality. Mythology ads to the storyline which then perpetuates program
loyalty and habitual viewing, which is what owners aim for. The creation of fictional characters and plots may be based
on truth but are embellished to serve and maintain society’s interest to increase revenue. Television shows present an
idealised perspective of a society and consumers ‘buy’ in the ‘reality’ presented.

Example, the Anzac myth: mateship, larrikinism (have a laugh in the toughest of times). Portrayed through Bondi
rescue, news broadcasts of floods, the mine disaster.

Heroes: in television are used to represent social values and ideals. They have to appeal to a mass audience and
thereby attract consumers

6. Identify consumers of popular culture

The consumers are the general public. Television is so imbedded in Australia’s culture that it is classified as an
everyday ritual (i.e. during dinner time, families watch television whilst eating rather than interacting). ABS states that
every household owns a television, 67% have two or more and 28% have three or more. Consumerist patterns are
broken down into categories such as age and gender, for example 830 to 930am attracts younger audiences and
children’s television is dominant between 4pm to 430pm. Ages over 55 watch the most television (perhaps due to
retirement) and children/ teens are the lightest users, although is increasing due to a growing sedentary culture. Males
watch more television on average and engage in more action genres and females prefer watching soaps, game style
and romance programs. There are no consistent viewing trends based on environmental factors such as urban/ rural
location, rent apartment or how many occupants live in the house

Time affects consumption. The global average time for television consumption is three hours and thirty nine minutes
daily whereas Australians on average watch 5 hours. Parasocial interaction was theorised in 1956 (Livingstone & Lunt,
1994), expressing that audiences experience face to face communication when watching television.

7. Identify the processes involved in consumption and the nature of the product
 Nature of product-
 Is informative and rationalises- i.e. the local news and weather
 Provides an escapism from reality
 In a way provides face to face communication. We develop an intimacy with characters and well known
personas. I.e. the death of Cory Monteith

Processes involved in consumption-

 Must gratify the needs of entertainment and satisfaction; adventure, curiosity and advise seeking.
 Functions through advertising. Must be approved by the owners and consumers

8. consider aspects of continuity and change in consumption

Continuity Change
 core prime time- genre of programs  increased marketing opportunities and
 times for viewership- investigation, news, paraphernalia
children/ preschool programs  improvement of production quality
 reflect predominant social values and elicits  diversification of genres
public discussion  increased opportunities to hesitate
 Issues are relevant  multiple sets per household
 Initiates social trends  over consumption, stationary lifestyle
 Reliance on advertising  increased interaction- Facebook, twitter
 Popularity of old shows through re runs  technology and accessibility increased
 reflect current trends and fashion
 mass audience appeal

9. examine role of media in consumption and interaction

Media is the main delivery of news and current affairs. Television news is often the highest rated and is scheduled
during primetime on al stations. Television media is highly competitive with the delivery of news and as a result is a
ruthless completion and often involves article being angled at a certain view to please a subgroup (i.e. a homophobic
article to reel conservative viewers). It is up to the individual to take on board critical discernment (approaching topics
without bias and sensationalism) of what is displayed on television by the media. Level of consumers attracts
advertisers.

Media outside of television- plays as the watchdog of what is portrayed by the media. Magazines and papers create
heroes of television (i.e. Dame Edna, Bert Newton) and contribute to gossip, show ratings and create promotion
opportunities. The popularity of television is constantly followed by secondary media to boost revenue.

Watchdog- provides social commentary; analysing, critiquies program as well as ensures degrees of accountability in
reporting and presentation.

Television is a form of media. The consumption of television allows the individual the interaction and acknowledgment
of all issues surrounding the world. News headlines are expressed consistently through the day to update individuals of
all global, national and local affairs, ranging from weather, crime, new public health campaigns and legislative action.
The fact that 88% of the population refer to free to air television as a first source of news and current affairs sustains its
power of the masses.

10. consider the role of heroes and mythology

Mythology: is the creation of fictional characters, plots and ideas. They are generally bias of the truth but are established
and serve to increase revenue and maintain society’s interest. The myths created by television reflect current values ad
perpetuate a societies perception of itself.
  Australian (ANZAC) myth: larrikinism in Bondi rescue. They face death and danger daily but manage to make the
best and laugh over the experiences.
 Natural disasters: the idea that regardless of circumstances and relationships with those in need of help, people
support one another. This is glamourized in news articles with segments of how fire-fighters from Melbourne
travel to Queensland bushfires.

Heroes: in television represent social values and ideals. They appeal to a mass audience and attract consumers. For eample
Bert Newton, He is a paternal caring character, always eager to make people laugh and see the positives.

Role: to make television relatable as well as provide a degree of sensationalism to reel in viewers. Heroes and mythology
have shaped Australian outlooks and values.

11. identify associated paraphernalia

This includes the equipment or items that assist the popular culture.

 DVDs- are generally available months after a movie/ television program is released. Can be rented or bought
 The Logies create hype and general interest for the popular culture and earn great coverage, are televised live and re
reported in magazines/ papers
 Songs- can represent the cliff hanger of the final episode (Chasing cars in Greys anatomy)
 TV week, soap opera magazines
 DVD player, set top boxes, subscriptions and TV guides

12. consider role of technology in the interactive process

 allow accessibility 24/7: now available in smartphones, ability to record TV programs
 currently occurring at a rapid rate to meet the demand of busy consumers (i.e. working, little leisure time for many)
 increase quality in terms of picture, sound, size of LCD- increases the need to witness the television experience
 Technology is increasing the fashion of television, similar to smartphones, people are buying new televisions for the
new features (i.e. touchscreen), not because their last one is broken.
 Increasing portability- pads, dvd players
 Subtitles- has increased access to television

13. examine influence of business, marketing and/ or advertising

Marketing- often television complains are released in combination with other forms of advertising on billboards, buses and
in magazines

Businesses- Such as Tourism Australia have advertised their businesses to spark controversy, and therefore more attention.
The Where the Bloody hell are you ads were banned in Britain but gained more publicity than imagined.

Advertising- television is second to newspapers in terms of advertising expidenture (34%). Often during Saturday morning
cartoons, advertisement includes junk food and toys. This has been so influential on children that advertising is banned
during preschool shows, and Saturday morning ads can only run for 5 minutes.
 14. identify the stakeholders in the control popular culture, including media, groups, marketers, governments,
family and peers
 Stakeholders are anyone who have a vested interest in or is affected by an issue. These include media, marketers,
goverenments and families.
 Media- control what viewers see and when. They determine what is newsworthy. In terms of control of the
media, Nine has 31.5% share of the market in the past decade, then seven with 29.7% followed by Ten with
21.3%
 Marketers- provide funding, control what products are advertised.
 Government- provide funding to back up the Australian Identify. The Special Broadcasting Service (SBS) for
example was created by the commonwealth in 1978 to cater for multilingual services and reflect Australia’s
multicultural identity.
 Family- includes unofficial censorship, parents set limits for what the children can watch and when. Can make
formal complaints on what is presented (i.e. sex scenes)
 Peers- conversations at school

15. consider the ownership of popular culture

 Broadcasting Services Act (1992)- regulates ownership and control of commercial television and radio
broadcasters that use broadcasting service bands
 Trade Practices Act (1974)- regulates activities of Australian corporations to prevent anti-competitive conduct
and to ensure
 Foreign Acquisitions and Takeovers Act (1975) - regulates the acquisition of Australian property and businesses
by foreigners.

16. Examine the issue of access including age: class, gender, location, ethnicity and sexuality
 Class- shows like Gossip Girl are portrayed through higher class. This makes the show more interesting as they
characters are detached through their titles, but relatable through their flaws and experiences
 Age- target audiences heavily impact the times of certain shows. For example, cartoons for children are generally
show weekday mornings (7 to 9) and Saturday mornings
 Gender- Generally, males prefer are more likely to watch action genre show where females prefer drama
 Location- has no real impact on access; both urban and remote homes contain an average of 3 TV’s and have the
exact hours of consumption 24/7.
 Ethnicity- some cultures may find the content of television shows offensive due to activates (smoking, binge
drinking, drug use) and fashion.
 Sexuality- acceptance of homosexuality through programming like Queer eye for the straight guy, open
discussions of sex hrough shows like Sex and the City

17. consider the role of official and unofficial censorship

Official censorship: Since television attracts a mass audience it is subject to restriction. The regulation of program material
is a commonwealth responsibility, undertaken by the Broadcasting Service Act 1992. The Australian broadcast authority
determine standards of children television

The ABA also subjects of codes of practise:

 community attitudes to sex, drugs, language and vilification
 ensure programs are aired at suitable times
 Apply film classification so MA, M are aired at later designated times.

Unofficial Censorship: are controlled by the micro world i.e. family, community. Changes are generally made to fit social
norms
 parental controls
 refusal to air programs
 withdrawing of programs that breach social standards- I.e. Kerry Packer and “Naughtiest Home Videos”
 avoidance of offensive content
 18. relate the control of popular culture to issues of power and authority

Consumers, although they are the masses control what is placed on television in terms of viewership and popularity.
Production of television is shaped in the hands of transnational corporations (TNC’s) and capitalist multimedia
corporations, but the consumers alter and manage the programming of television through the level of consumption.
Societies shifting preferences and fads (temporary fashion) control the genre and issues surrounding television as a
response to gaining and maintaining viewership.

Power Authority
 Producers- control what they create  Government- laws and regulations on all aspects
 Consumers- they view were they choose. Level of from ownership to content.
consumption can axe or encourage shows  Make decisions about network policies and
 Consumers illegally download television programming directions
programs. They do not affect ratings and cost  Right to determine viewing rules within their
millions in DVD sales home
 Networks- decisions on what they program  National sovereignty- the extent to which a
 Advertisers- provide revenue therefore influence country has control over directions and decisions
programming decisions within its borders. This can include only allowing a
percentage of cartoon per day and the control of
foreign content

19. Identify resistance to popular culture and introduce examples

Resistance is defined as the avoidance of individual programs.

 Has become a very difficult process considering it plays an integral part in most peoples lives
 Avoidance of certain genres
 Avoidance of commercial network and by proxy, advertising
 South park is originally a form of resistance to popular culture but has become one itself
 Cultural elitism
 Refusal to own a television

20. Consider the acceptance and rejection of popular culture

Acceptance- is the participation in the popular culture. This Rejection-

can include viewing, discussing and buying associated
paraphernalia and merchandise.
 Recognition of the industry through award ceremonies  School rating and viewing restrictions
such as the Logies and Emmys  Counter culture- “alternative programs such as south
 Acceptance of occupations and legitimate park that only attract a sub audience as it doesn’t
qualifications (I.e. a bachelor in communications) follow mainstream production norms
 Widespread access  Invert and reject social norms such as south park again
 Satirise mainstream television programming
 21. Identify tensions between business, producers and participants

needs owners producers Participants

Owners- include ABA Profit, generate Tensions to Agreement over Programing what
revenue, promote gain the rights of content needs and audience wants/
product, business televising major directions, $$$- when it wants
growth, preserve events such as NRL, production cost vs. (meeting audience
marketability Olympics etc. what businesses are demands). Viewing
(reputation worth prepared to pay, trends- popular
buying, not be creation vision vs. programs and genres
discredited, known for business direction. vs. catering to all
scandal) Production to adhere needs. $$$ for
to the code of advertising impedes
conduct. Ratings on viewing
pressures experiences
Producers- A person, sell their product , Whatever is Competitions Must impress the
company, or country create ‘appealing’ produced must be between advertising participants, so they
that makes, grows, or product (saleability), approved as it can slots, what show is can improve the
supplies goods or
commodities for sale.
develop audience reflect poor upon the played when owners in terms of
(loyalty), gain owners review and audience
recognition and stats
generate revenue
Participants- include Quality products, Can complain if there Produce programs Tensions of what
everyday people programs are kept are unsatisfied or people want to show to watch at a
watching television. ‘fresh’ to maintain unhappy with what is watch. Maintain certain time. This can
audience, meet being viewed. freshness and create conflict
viewing needs , originally while still
current and relevant maintaining formula.
to our live, accessible
(gender, ethnicity,
location)

Producers are under the most tension, by owners and participants.

22. Identify the positive and negative aspects of popular culture that have become a part of society

Positive Negative
 Society has acquired viewer discernment  Has created sensationalism
 Increased social awareness- I.e. make poverty  Has created cultural imperialism- i.e. UK and
history in 2000, supported by U2 American dominated television shows has
 Gives people something to talk about reduced amount of local content
 Makes more informative people  Society has become desensitised
 has become a way of gathering and sharing  Influenced unsocial habits
knowledge  Contributes to sedentary lifestyle

23. Identify ways in which popular culture may have contributed to social change

 Globalisation- has increased exposure and interaction with cultures= small world (acculturation)
 Education- audio/visual aids enhances learning
 Economics- bigger business advertising, multi corporations, economic growth
 Desensitisation- over exposure to harsh elements such as violence, sex and drugs
 Has made conversations more open- i.e. sex and the city spoke about things that were considered taboo
 Created pressure of physical perfection and mage. Easily has been linked to anorexia
 Exponential growth upon materialism
 Integrated into lifestyle- average watched a day is 4 hours, 95% of Australians have two televisions in their
house
  Saying from shows have been incorporated into daily slang and language- such as “geek” from Dr. Seuss and
“Doh” from the Simpsons. Television has transformed language to become less formal and use ore
colloquialism

24. Evaluate continuity and change in relation the popular culture (also covered in 8)

Continuity Change
 Medium for current affairs, entertainment,  Competition with other rapidly increasing
background noise and sports technologies such as smartphones and the
internet (portability is become a major threat)

25. Consider the implications of globalisation for the popular culture

 Has created imperialism- for example shows from the UK and America are abundant on Australian television
screens. This has impacted greatly on the production of local programing
 Improved enculturation processes (adoption of cultures norms
 Has been a driving force in the advertising of TNC’s such as Nike through sports events
 Improvement of global ties. For example Australia and New Zealand have strong content in each country.

26. Identify the impact of technology upon the popular culture

 Increased portability (ipads, smartphones)
 Online streaming of television, increasing accessibility and flexible programming
 Changed viewing habits- time slots are not relied on to view favourite programs


27. Consider future directions for the popular culture

 Increased reliance upon the internet
 Stricter regulations on downloading/ privacy
 Alternate advertising outlets, television will no longer be the most influential advertiser
 Reduction in number of televisions bought due to alternate deliveries of programing

28. Construct scenarios for future directions in popular culture on a local, national and global scale

Local-

 Decreased local content

 Reduced numbers of television per household due to other sources
 No longer a family ritual

National-

 Greater competition with foreign content

 Less restrictions on foreign programming

Global-

 Increased foreign content

 Content will reflect ‘mono world’ culture. Many family based sitcoms for example have subverted to ‘mass
appeal’. Similar program will be viewed worldwide also leading to reduction in foreign restriction, hindering
traditional beliefs.