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Television

Introduction

Having worked in digital media for television since 1999, I have taken a keen interest in watching how the perception of digital technology as a threat to traditional media, particularly by large media conglomerates, has evolved.  The reactions of the film and recording industries to so-called “piracy” have received the most attention, but there has also been a backlash against sharing technologies and practices within the broadcast television industry as well.  Networks have spoken out against fans posting even short clips of copyrighted content on fan sites and YouTube, and have been active in forcing takedowns of such clips and even, at times, of the sites themselves.

The proposed topic of research is the effect these efforts have had on the fans’ relationship to the brand and its franchises.  How, exactly, do these networks think these types of activities will affect their revenues, and have those fears been borne out?  Is the fan’s affinity with the brand or franchise adversely affected by persecution by the network?  How is the fan community at large affected by the networks’ activities, and what effect does that, in turn, have on the brand?  What are some potential solutions that would satisfy both the brands and the networks?

Definitions of Fans and Fan Activities

In order for us to examine the question of whether or not corporate media’s persecution of fan activities has been helpful or harmful to the media properties, we must first define what exactly we mean by fans, and what we mean by “fan activities.”   In a research study by C. Lee Harrington and Denise D. Bielby, and documented in their article “Global Fandom/Global Fan Studies,” participants were asked to define the difference between fans and ordinary consumers.  The results were that most participants agreed that fans are a subset of consumers, but ones that have a greater “emotional, psychological, and/or behavioral investment in media texts,” (186) and whose level of active engagement with a text is substantially greater than average consumers, who are generally passive in their consumption.   This jibes with Henry Jenkins’ definition of fans from the introduction of his book, Fans, Bloggers, and Gamers: Exploring Participatory Culture, in which he describes fans as “active, critically engaged, and creative.” (1) Jenkins goes on to say that digital technology is allowing fan cultures to thrive and grow, by providing people who may have, in the past, only been passive consumers, the opportunity to “archive, annotate, appropriate, and recirculate media content.” (1) By this definition, even the simple act of “recirculating,” – posting a video clip of a TV program onto YouTube or a blog – constitutes fan behavior.  Taking clues from these two definitions, we can safely define fans as anyone who has an affective relationship with a media text beyond passive consumption, and ‘fan activity’ as the active engagement with that media text such as sending it to a friend or sharing a segment of it online.  However, there are a number of fan activities that have gone beyond these simple acts of engagement, one of which is fan fiction, which I will discuss in a moment, in which fans create entire alternative narratives based on the objects of their fandom. [continue reading this post...]

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Gripsrud, Jostein. “Broadcast Television: Its Chances of Survival in a Digital Age.” Television After TV: Essays on a Medium in Transition. Eds. Lynn Spigel and Jan Olsson. Durham: Duke University Press, 2004. 210-223. Print.

Abstract

The extent to which broadcast television has the ability to survive as a medium in the current climate of rapid digitization of media is questioned by examining the medium in the context of contemporary social structures.  The meaning of broadcasting is explored from its etymological roots to its larger societal meaning as a medium that benefits both centralized governments and the needs of its citizens.  Whether the conditions for these 2 meanings still exist is questioned and the hypothesis is that they do, as governments are still centralized, and a “shared cultural menu” still critical to the basic social and psychological needs of the citizenry.  The effects of digitalization are divided into 3 main consequences: convergence (the merging of the Internet and broadcast TV into a single delivery system), increased capacity for transmission, and interactivity.  Commonly expressed views that these effects will segment audiences to such an extent that the centers of cultural power and community will be fragmented and lost are downplayed, as is the concept of a “digital revolution.” Given as evidence are the low number of channels actually used by average viewers vs. the several hundred offered, and a prediction is made that traditional broadcast channels will remain the most popular.  The belief that time shifting won’t alter viewing habits is expressed, as viewers are habitually tied to the scheduling of certain shows, and value their immediacy; that video-on-demand can be less convenient than walking to your local video store, and that there is an “experiential & social difference” between watching a show on a computer vs. on a TV set. It is postulated that simply having more choice will not result in greater viewing, as this is determined by psychological, cultural and social factors. The conclusion is a prediction of the survival of traditional broadcast TV, citing the continued existence of the preconditions of the medium: concentration of power, mobile privatization, and the need for shared experience.

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Electric Snow

by tomtenney on March 22, 2010

Originally posted for my Media Language & Society class 3/22/10

This week, instead of providing disparate examples for each one of the keywords in the assignment, I’d like to present one resource and illustrate how it takes on each one of these key concepts.   In my ‘googling around’ for the assignment, I stumbled upon a site called ” Electric Snow: TV in Our Time.”

The site was created by 7-12th grade kids in Sweden as an entry into the ThinkQuest Competition.  From its appearance, the technology it uses, the number of broken links to outside sources, its use of frames, and the (often outdated) sources it cites, it looks as though it was created sometime in the late 90′s. Going through it, I felt almost like a deep sea diver exploring the wreckage of an abandoned ship.  What’s fascinating to me about it is that it was created by young kids whose intent is to totally deconstruct the medium of television in order help others take a more critical view of mass media.  Not only did they succeed in this, but the process itself seems to have taught them as much about how mass media works as did their research.  For instance, in the about section they describe how they wanted to use advertisements as examples, but were concerned about copyright issues.  Speaking of themselves in the 3rd person, they say:

“Copyright was an issue the team struggled with during the creation of the site. They wanted guide users through some ad deconstructions, so they wrote to Levi’s, Coca-Cola, MTV, Nike and Gap asking for permission to include ads on the site. Nobody said okay.”

Although they didn’t say this explicitly, it seems as though by being stonewalled, they got the message loud and clear that advertisers are not interested in having their ads deconstructed.  Advertisers have a vested interest in not being “discussed” in a critical or academic way – for if we start thinking about the ads, we’ll begin to be able to see through them.  Lesson: Mass media is not, by and large, a facilitator of public discourse as it is usually ad-supported – and without advertiser dollars there would be no programming.

Clearly the medium they are examining is television, but many of their findings such as this one could be applied to almost any form of mass media.  Another that could be so applied is their conclusion that women are under-represented and used to reinforce gender roles:

“Most women’s voices in commercials are to sell products such as laundry detergent, diapers, and jewelry. Advertisers also use women as sex objects to sell products such as beer.  There is evidence that a stereotypical view of gender role may influence the viewers, especially the young.”

They even conducted their own mini-study where during one hour of television, they found that 80% of voice overs in advertisements were male, and only 20% female.

The site has an entire section devoted to ‘ Influence,’ which attempts to examine and deconstruct advertising as one of the principle constructs of mass society – one that provides us with a common lexicon of commercialization.  Their very first observation in this section is that ” A network’s product isn’t the television shows, it’s you,”  correcting a common  misunderstanding about how mass media works (a misunderstanding that exists even within the tv industry itself).  By revealing this simple truism, these kids are engendering a fundamental shift in how tv and other mass media could/should be viewed, i.e. not as harmless deliverers of entertainment as a product, but entertainment as a lure to entice the product (you) to the customer (the advertiser). The section also includes descriptions of some the techniques advertisers use to lure, entice and coerce their audiences.

Another section examines the programming itself, offering explanations of ratings, the role of objectivity in the news, and how public television works, among other things.   But perhaps most impressive to me was the site’s representation of ” watchdogs and advocacy groups” which was surprisingly fair in its representation of all the different kinds of groups that are fighting for “fairness” of representation in mass media, be they radical (adbusters), liberal (F.A.I.R.) or conservative (Accuracy in Media).  By presenting the entire spectrum of viewpoints, the kids provide an accurate representation of the diversity of opinions that vie for our mindshare on the battlefield of mass media.

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Having worked in digital media for television since 1999, I have taken a keen interest in watching how the perception of digital technology as a threat to traditional media, particularly by large media conglomerates, has evolved.  The reactions of the film and recording industries have received the most attention, but there has also been a backlash against sharing technologies and practices within the broadcast television industry as well.  Networks have spoken out against fans posting even short clips of copyrighted content on fansites, YouTube, and have been active in forcing takedowns of such clips and fansites.

I would love to research the effect these efforts have had on the fans’ relationship to the brand and its franchises.  How, exactly, do these networks think these types of activities will affect their revenues, and have those fears been borne out?  Is the fan’s affinity with the brand or franchise adversely affected by the activities of the network?  How is the fan community at large affected by the network’s activities, and what effect does that, in turn, have on the brand?  What are some potential solutions that would satisfy both the brands and the networks?

This is a very broad outline of an area that interests me, and I have no idea what, if any, research has been done in this area already.  However, it’s something that I see and/or deal with on a daily basis, and the results would be, I’m sure, not only of interest to me, but to the networks, the fans, and the community of media scholars.

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De-Douching America

by tomtenney on August 2, 2009

Repost: originally posted on inc.ongruo.us

This weekend, I’m catching up on my Daily Shows & Colbert Reports that I missed while in SF. I just watched Wednesday’s Daily Show, and was blown away by “So You Think You Can Douche”, taking on the talking heads on cable news networks. It’s not that it was so much better than the typical Daily Show bit, but just that it seemed to encapsulate perfectly the ways in which TDS is an essential corrective to today’s media.

The segment made me think of Duchamp’s prediction that “the artist of the future will simply point his finger.” Although comically brilliant, there’s actually very little “comedy” writing in this piece…. it is its own absurdity that make it art. Stewart is simply putting a frame around the everyday, and pointing to our complacency (and complicity) with media that resorts to audio/visual stimuli and rhetorical tricks to subvert reason and present us with a version of reality that is almost Pirandellian.

What is Stewart pointing to, exactly?

* Hannity’s use of edit room technology to subvert reason and appeal directly to the emotions – exactly what news is NOT supposed to do. After showing Hannity’s montage of seemingly random Obama sound bites set to menacing background music, Stewart points out, simply: “That made no sense. Yet, still, for some reason I am angry and afraid. It’s as though anything you set to grainy footage and the soundtrack of The Omen seems menacing.” He then presents clips from “Dora the Explorer” with the same production trickery. Point made.

* He brilliantly deconstructs the language Lou Dobbs uses for the way it makes political inferences while disguised as unbiased reporting.

* Glenn Beck’s overt hypocrisy in saying Obama has “a deep-seated hatred for white people“, followed literally a minute later by the statement, “I’m not saying that he doesn’t like white people“. It seems almost too easy – yet Beck seems to be relying on the short attention spans and unwillingness of most Americans to actually THINK about the stories they are told. In this way, Stewart implicates all Americans in the douchery.

THIS is exactly why the Daily Show IS news, not “fake news.” My Oxford Dictionary defines “news” as:

“newly received or noteworthy information, esp. about recent or important events”

If we accept this definition, then certainly exposing the way the media twists the day’s events into propaganda is NEWS in and of itself – but who reports news on the news? Media CANNOT be exempt from the “events” that news is supposed to place under the microscope of critical examination. But isn’t it entertainment? Absolutely. But in this case, it’s not only that it informs AND makes us laugh (the “hybrid” model), it informs precisely BECAUSE it makes us laugh (an integral model?). By exposing the absurdity, it informs. If we don’t laugh, if we don’t “get it”, then we have not been informed.

I’ve said enough. Just watch the clip… it’s amazing.

The Daily Show With Jon Stewart Mon – Thurs 11p / 10c
So You Think You Can Douche
www.thedailyshow.com
Daily Show
Full Episodes
Political Humor Joke of the Day
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Written as final research paper for the class: “Fake News, Politics & Popular Culture;” Spring 2009

Since the mid-90’s, proponents of the Internet have championed the new technology as a reviver of democracy, a way for individual voices to be heard in a political landscape where politicians increasingly favor their own interests over of the people they are elected to represent.   In 2001, Pierre Lévy wrote, in Cyberculture,

True electronic democracy consists in using the possibilities for interactive and collective communication offered by cyberspace to encourage the expression and elaboration of urban problems by local citizens themselves, the self-organization of local communities, the participation and deliberation by those directly affected by them, the transparency of public policies and their evaluation by citizens.

The idea of new technology affecting a change in the way Americans see and “do” democracy has also been applied to a broader range of technologies such as fax machines, call-in talk radio shows, and cable television (Jones 40-48).  15 years after its introduction into mainstream culture, has the Internet – or these other new technologies – really had a profound impact on the level of political participation engaged in by average citizens?  Specifically, I would like to focus on whether the political late night talk shows, or “New Political Television” (NPT) as coined by Jeffrey Jones, is actually causing its audience to become more politically active, and if so, how and to what degree.  By surveying a sample of The Colbert Report audiences, I have tried to determine whether satirical political comedy is providing audiences with tools or incentive to act politically, or whether these shows are seen simply as entertainment with little or no resulting political action.  While merely thinking more about politics can be seen as a positive result of these types of shows, it is only through the political participation of informed and engaged citizens that a healthy democracy can be restored.

In “Reconfiguring Civic Culture in the New Media Milieu,” Peter Dahlgren examines the charge that media are major contributors to the cynicism and stagnancy that seem to characterize contemporary American democracy.  He notes, however, that many critics of mass media are more optimistic when discussing the Internet and digital media, suggesting that they see these technologies as having the capacity to jump-start political participation and breathe life back into democracy (151-152).   Dahlgren proposes the idea that “civic culture” – a process consisting of a series of cultural practices whereby people become citizens – is a prerequisite to democratic participation, and absolutely essential to the survival of democracy itself (152-153).   These attitudes, practices, and conditions that comprise civic culture, he says, are not “political” themselves, rather they exist at the level of everyday experience.  They can, however, lead to political action, and should be thought of as preconditions for democratic participation.   He models civic culture as “a dynamic circuit” to which he assigns six discrete dimensions: values, affinity, knowledge, practices, identity, and discussion – each providing an important condition for the health of democracy (156).   For the purposes of this study, I’d like to focus on the modalities of knowledge and discussion, as these are the two with the most relevant application to the examination of the relationship between NPT and political action.  Knowledge, Dahlgren says, is indispensible to a healthy democracy, as it provides citizens with skills to communicate effectively.  He claims that there is an ongoing evolution of the “modes of knowledge” enabled by new technologies like the Internet, which allow for new methods of thought and expression.  However, he offers a caveat that these new modes “may not be politically effective” (158), a warning it will be helpful to keep in mind when we analyze the results of our audience research.

Discussion is the dimension that Dahlgren describes as being “the cornerstone of the public sphere” (159), and the one he claims has moved, to a great degree, onto the Internet.  Dahlgren dismisses the claims of critics that the Internet is at best having a negligible effect on democracy, and argues that although only small minorities of people are participating in online democratic and civic activities, that “in the margins, may be something profound that is beginning to take shape in how democracy gets done. If we switch the lens and look from this alternative view, there is evidence that speaks for a much more robust contribution.” (165).  Disappointingly, Dahlgren’s evidence consists of a number of websites – alternative news portals and discussion forums – but very little in the way of empirical evidence to counter Margolis and Resnick’s claim that political life on the Internet is simply an extension of life off the net (164).

Andrew Kohut, on the other hand, citing a 2000 Pew Research study, offers evidence showing that people who get their news online are only slightly better informed than those who get it through traditional sources.  Kohut reports that although online users may be consuming more news, they generally are only looking for stories on topics they are interested in, and that this specialized news consumption is not enhancing or increasing public participation in politics or democracy.   This idea is reinforced by more recent studies by Tolbert and McNeal (2003) and Nisbet and Scheufele (2004).  In the former, Tolbert/McNeal conclude that although the Internet has potential for opening new avenues of political discourse and communication, the new technologies may –as Kohut suggested – narrow exposure and exclude differing viewpoints, thus engendering a “bonding” among like-minded citizens, rather than “bridging” experience, which fosters tolerance for social, cultural and intellectual diversity (184).  The 2004 study conducted by Nisbet/Scheufele finds that the Internet has only had a modest effect on public life, and that the effect is most profound where it is aided by the support of traditional media.  Like Margolis/Resnick, Nisbet/Scheufele assert, “the Internet’s effects are strongly linked to an individual’s ‘real world’ social environment” (891).

In Entertaining Politics, Jeffrey Jones adopts Dahlgren’s model of the six-dimensional circuit, but instead applies each of the modalities to New Political Television (NPTV), and argues that NPTV exhibits each of these conditions, and is thus creating a fertile ground for greater political and civic participation (Jones 187-196).  Citing the example of how the Howard Dean 2004 presidential campaign broke new ground in use of the Internet as a communication tool, and mobilization of a constituency using interactive technology – he makes the claim that NPTV similarly creates a public space where meaningful civic discourse overlaps with popular culture and everyday life (188), creating a precondition for political participation.   Understanding the ways that Jones applies NPTV to Dahlgren’s model will help us construct a definition of audience “participation”, the degree of which I will try to determine from the interviews with The Colbert Report audiences.

For the modality of Discussion in Dahlgren’s model, Jones makes the claim that NPTV contributes to this practice though its “role as an instigator of discursive activity outside the act of watching television” (190).   This is a claim that can be easily measured through our research, and will therefore contribute to our definition of participation.  Dahlgren defines the second modality, Practices, as recurring daily activities – the routines that make up our everyday lives.  Here, Jones contends that television is a “ritualized practice, and politics is one of many topics that audiences interact with on a daily basis” (191) and also that NPTV creates an overlap between politics and our “affective relationship to popular culture” (191). While it may certainly be true that this may engender a mindset necessary for participation, it connotes no specific action on the part of the audience, and will therefore not contribute to our definition of participation.  Similarly for the third modality, Values, which Dahlgren argues is necessary for a citizenry to share in order for democracy to exist.  Jones claims that NPTV provides a public forum where shared values such as honesty and accountability can be “mulled over” (192).  Again, this neither requires nor implies any explicit action on the part of audiences, and so cannot be used in our definition of participation. Additionally, the very terms “honesty” and “accountability” are subjective and open to multiple interpretations, further hindering any kind of empirical measurement.  Knowledge (the fourth modality), however, can be more easily demonstrated.  Both Dahlgren and Jones agree that an informed citizenry is a sine qua non of a healthy democracy.  While it is difficult to ascertain the level or depth of knowledge through an audience interview, we can determine if an interviewee takes certain actions in order to “keep informed” – such as watching the news or reading the newspaper.   Affinity, the fifth modality, is described by Dahlgren as “a sense of commonality among citizens […] that they belong to the same social and political entities” (Dahlgren 157).   Jones argues that both the humor of NPTV and their representation of common sense ideas serve to create this type of affinity among audiences (194).  He also contends that the last modality, Identities, is engendered by NPTV by allowing audiences to think of themselves as citizens by aligning their citizenship with their affective relationship to humor, entertainment, and popular culture (195).  Again, these last 2 modalities are problematic from the standpoint of empirical measurement, and do not require specific action on the part of the audience.  Therefore they, too, will be excluded from our definition of participation.

From Dahlgren and Jones’ discussion of civic culture, we can extract 2 ideas that help define political participation: discussion and knowledge.  We can further determine what other kinds of action audiences take either as a result of, or ancillary to, viewing The Colbert Report by asking about the audience members’ online and political activities.  Therefore, I will attempt to determine participation using the following questions:

  1. How often do you consume the news? (Knowledge)
  2. Do you discuss the content of the show with friends or co-workers? (Discussion)
  3. What kinds of topics come up? (Discussion)
  4. Have you ever posted a comment on the website? (Discussion)
  5. Have you ever shared a video clip? (Discussion)
  6. Is The Colbert Report an informative show? How so? (Knowledge)
  7. Has the show’s coverage of a specific topic (in this case, the economic crisis) taught you something? (Knowledge)
  8. Has The Colbert Report gotten you more involved in politics? (Political action)
  9. Do you participate in online discussions or groups? (Discussion)
  10. Do you vote? (Political action)

To conduct this research, I used a sample of 16 interviews with audiences waiting to see a live taping of The Colbert Report.  The sample consisted of nine men and seven women, 56% of whom were between the ages of eighteen and twenty-two, 25% between the ages of twenty-five and thirty-five, and 19% between the ages of fifty and sixty.  38% of the sample declared a college degree as their highest level of education, 31% are currently attending college, 25% have post-graduate degrees, and 6% (1 respondent) claimed high school as his highest level of education.

In order to facilitate discussion as it relates to the ideas of Dahlgren and Jones, I have categorized my findings into three areas: Knowledge, Discussion, and Political Action.

Knowledge

When asked about news consumption, most (81%) claimed that they consume news on a daily basis, with the other 19% receiving their news “sporadically.”  When asked where they get their news, online sources were mentioned the most frequently (18 times) followed by print  (11 times), television (10 times), and radio (2 times).    While this indicates that audiences of The Colbert Report keep themselves at least moderately well-informed, it’s impossible to tell whether their high level of news consumption is in any way a result of watching the show, or whether, perhaps, The Colbert Report simply attracts more well informed people as its audience.  In other words, there is no way to make a causal connection between watching The Colbert Report and increased news consumption.   A more telling metric in this regard lies in the responses to the question: “Is The Colbert Report an informative show?”  To this question, we received exactly the same percentage as in the previous question, with 81% saying they find the show informative, and 19% saying they do not.  However, it’s important to note that only one of the respondents answered that he consumes news sporadically and does not find the show informative.   One avid consumer of the news who did not find the show informative answered that “if you don’t know what he’s talking about, you wouldn’t get the jokes.”  Another audience member gave a qualified “yes” when asked if the show was informative, but added, “if you don’t know what’s going on, you might not really get it.”  These responses lend credence to the idea that The Colbert Report attracts a well-informed audience.   Other responses indicated that audiences were, in fact, learning something from the show.  One woman told us that “I read a ton of online news but I still find that the show will either occasionally break something new or mention an aspect of a story that I haven’t come across yet.”  Another woman who reads the news everyday, indicated that while the show might not be informative for her, it may be for others, stating, “maybe for people who don’t keep up as much with the headlines they could learn something about politics or just news in general.”

The idea that respondents believe others may be informed by the show without being informed themselves, is reinforced by the responses to the question “Has the coverage of the current economic crisis taught you something you were previously unaware of?”  To this, only 12% (2 people) said that it had, and only 6% (1 person) indicated that their perception of the crisis had been changed by something they saw on the show.

Based on the answers to these questions, it would appear that while The Colbert Report certainly attracts a well-informed audience, the program might not increase their level of knowledge in a meaningful way.  There may be some evidence, also, to indicate that they feel as though they are participating in a forum that increases the general knowledge of the audience, even if they do not consider themselves the beneficiaries of such knowledge.

Discussion

The first question that was asked on the topic of discussion was simply “Do you discuss the content of the show with friends or co-workers?”  To this, almost all (94%) answered in the affirmative.  However, when asked what kinds of topics come up, only 63% said that it often or sometimes leads to political discussions.  The topics that were specifically mentioned included electoral politics, “issues that we care about that come up in context”, NASA, and how the show “exposes politicians and media for the fools they really are.”

While these responses suggest a high level of face-to-face discourse as a result of watching the show, the picture is a bit different when it comes to online discussion and participation.  Not a single respondent said that they had ever posted a comment on the website, either in response to a video clip or in the discussion forum, and 81% said that they do not participate in discussions, groups or forums on the Internet.  2 respondents (12%) said that they “occasionally” participate, and one indicated that she is more of a passive participant, i.e. she reads the discussions but does not contribute to them.

It is interesting to note that an large majority (88%) has watched either a video clip of the show or a full episode online – in fact 3 people said that that’s exclusively how they watch the show – and of those that have, 36% say they have shared a clip with someone else.   In a recent article, Professor Henry Jenkins discusses the phenomenon of online sharing of parody videos, and how this is an example of the participatory culture in which we now live.   This culture, Jenkins says, is “shaped by increased contact and collaboration between established and emerging media institutions, expansion of the number of players producing and circulating media [emphasis mine] and the flow of content across multiple platforms and networks” (189).  In short, Jenkins suggests that this type of sharing constitutes a new language, a new mode of discourse that transcends traditional notions of “discussion.”    If this is true, then The Colbert Report audiences are certainly participants in a form of online discussion as a direct result of watching the show.

Political Action

To the question, “Does The Colbert Report get people more involved in politics, the majority (75%) said that they thought that it did, 12.5% said no, and 12.5% said they don’t know.   When asked who was getting more involved, 42% (of those that said they thought it got people involved) specified “younger people” explaining that The Colbert Report makes news “more fun,” that it is “not as stuffy” as other news programs, or expressed a hope that younger people “will get angry and inspired.”  One 20-year-old man said, “I just think people my age are more inclined to get entertained, and if you can get both, they will take both [sic].”

In the above section on Knowledge, we identified a potential disconnect between audiences thinking the show made people more informed, and the fact that it doesn’t feel as though it makes them more informed.  When asked if the show gets them more involved in politics, we witness a similar phenomenon – only 19% claimed that it got them more involved.  One man in his 50’s with a post-graduate degree told us “I have always been informed, and vote.  [Stephen Colbert] just validates what I believed all along about politicians.”  Once again, these results suggest the possibility that The Colbert Report is simply attracting audiences that are already informed and politically engaged, and that the show reinforces their beliefs without affecting a significant change in their political behavior.

In terms of political participation in the voting process, 100% of the respondents claimed to be registered voters, and all but one voted in the last election.  Only half said that they voted in the election before that, but this was likely due to the age of the respondents, over half of which were between the ages of eighteen and twenty-two, and thus ineligible to vote in the 2004 election.

Conclusion

While Dahlgren’s six-dimension model of civic culture is useful in understanding the ways in which it may be possible to become active participants of democracy, they do not, in and of themselves, provide any assurances that this will occur.  Through close examination of two measurable modalities, Knowledge and Discussion, and the resulting Political Action, I found that audiences of The Colbert Report are certainly well informed and engaged enough with the content of the show to bring it into meaningful discussion, especially with their friends and family.  However, there seems to be a lack of evidence that the show encourages these audiences to participate in political or civic discourse beyond their familial and social circles.  While virtually all respondents in the sample participate in the voting process, only a tiny minority participates in online groups and discussions, or comments on the show’s video clips and message boards.  In the cases of both voting and online activity, it’s difficult to tell whether there is a causal relationship between The Colbert Report and this participation, or whether their civic engagement is a precondition of both their online participation and their involvement with the show.

This is not to say that The Colbert Report does not create a vital forum with the potential for all six of Dahlgren’s conditions and practices to be realized.  Perhaps it’s too early in the evolution of both the Internet and NPTV to be able to determine how these new spaces for thought, humor, critique and participation will open up into the public sphere and create room for a transformation in the way citizens “do” politics.   Perhaps, as Dahlgren, Jones, and Jenkins suggest, this is already happening – that a revolution is underway “in the margins” (Dahlgren 165) and that it is this small minority of engaged and intrepid participants that will lead the way into a future participatory culture that will engage us all.

Works Cited

Dahlgren, Peter. “Reconfiguring Civic Culture in the New Media Milieu.” Media and the Restyling of Politics: Consumerism, Celebrity and Cynicism.  Ed. John Corner and Dick Pels. Thousand Oaks: Sage, 2003. 151-170

Jenkins, Henry.  “Why Mitt Romney Won’t Debate a Snowman.” Satire TV: Politics and Comedy in the Post-Network Era.  Ed. Jonathan Gray, Jeffrey P. Jones, and Ethan Thompson. New York: NYU Press, 2009. 85-103.

Jones, Jeffrey P.  Entertaining Politics: New Political Television and Civic Culture.  Lanham: Rowman & Littlefield. 2005.

Kohut, Andrew. “Internet Users are on the Rise; But Public Affairs Interest Isn’t.” Columbia Journalism Review. January/February, 2000. 68-69.

Lévy, Pierre, and Robert Bononno, trans.  Cyberculture. 1997.  Minneapolis: University of Minnesota Press, 2001.  166.

Nisbet, Matthew C., and Dietram A. Scheufele. “Political Talk as a Catalyst for Online Citizenship.” Journalism and Mass Communication Quarterly. Winter, 2004. Volume 81, Number 4. 877-896.

Tolbert, Caroline J., and Ramona S. McNeal. “Unraveling the Effects of the Internet on Political Participation.” Political Research Quarterly. June, 2003. Volume 56, Number 2. 175-185

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Midterm paper for the class: Fake News, Politics and Popular Culture; Spring 2009

On the November 5th, the day after Barack Obama won the 2008 presidential election, Jon Stewart asked his audience on The Daily Show “How are we gonna make this shit funny?”  Stewart stepped into the role of host of the show in 1999, the tail end of the Clinton administration, but for the past 8 years, he has come into his own as a satirist, media critic and political commentator, largely due to his skill at poking fun at, and poking holes through, the often-absurd policies of the Republican administration of President George W. Bush. While Jon Stewart has himself stated that The Daily Show doesn’t represent the left or right, but “the distracted center” (Jones 114), it can hardly be denied that for the past 8 years, Republicans have given Stewart and his writers a wealth of material on which, it could be argued, the success of the show has been built.  With a liberal democrat now in the White House, will Stewart and his writers modify their tactics in order to maintain the reputation and status they have gained as our culture’s scathingly honest purveyors of political critique?

Before attempting to answer this question, I will first examine the rise of new political late night television, especially The Daily Show, and its role in providing a public mouthpiece that speaks “truth to power”.  I will then look closely at how it accomplishes this through the use of parody as tool of political and social critique.  My aim is to show that it has been well established that The Daily Show speaks truth to power before presenting my research, which will examine whether and how this may have changed since the inauguration of Barack Obama. [continue reading this post...]

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