DocuSoap Case Study

Definition:

DocuSoaps are simply a form of reality TV, however certain elements differentiate it from mainstream viewer-led television such as talk shows and the likes of Jeremy Kyle. Similarly, it isn't 'access television' (Which from my understanding is a predominantly American form of TV created by ordinary people and non-profit organization, might be worth looking into), since the audience is in fact the subject of the program.

Can be defined as a program about ordinary people or events, made by professionals to entertain and instruct.

General Structure of DocuSoaps.

Narration plays a very influential part, since narration is likely to increase viewer involvement and add another layer of representation through meta-narratives. Dramatic reconstructions may also be used to further the cause. Story lines often follow a weekly structure (Notting Hill 2010) possibly providing firm viewing numbers. The stories are real, and therefore connect to the audience in a very real way, since the issues raised are particularly key debates or areas of interest in the media world at the current time (Britney and Kevin: Chaotic - Bricolage of home videos in order to set up the narrative, and professional filming in order to tell it).

DocuSoaps are cheap to produce, easy to work to within deadlines and can be aired immediately. However this raises other issues. The British DocuSoaps are not particularly involving when compared to North American alternatives. For example Airport and Airline were two of the best and most viewed DocuSoaps in the United Kingdom, however when compared to the scale of North American counter-parts such as Ace of Cakes, Ice Road Trucks, Miami Ink, Deadliest Catch and Storm Chasers, not only does it effectively describe the type of target audience but it also shows what people find involving and of interest. DocuSoaps also can be considered educative as well as entertaining. This authoritative stand may give them a lot of appeal to the average television viewer.

"Reality TV shares many of the characteristics Modelski assigns to fictional soap operas such as a participatory quality; a sense that characters or social situations are 'like me'...and emphasis in knowledge of what others might do and think...rather than strictly factual 'know-how'; acceptance and acknowledgement that viewers are subject to 'interruption, distraction and spasmodic toil'; multiple plot lines; and casts of characters who may not know each other."
Bill Nichols, Blurred Boundaries: Questions of Meaning in Contemporary Culture. 

Elias