Major Project Report On IMPACT IMPACT Of REALITY SHOWS On YOUTH
Submitted In Partial Fulfillment Of the Requirement Of Bachelor of Business Administration Administration
Internal Guide
Submitted By
!r" !ee#ali Salu$a
%inaya& Mi'(ra
A''i'tant Pr)fe'')r
*+,+*+*-.-/
Submitted Submitt ed To: Banarsidas handi!ala Institute of Professional Studies" #!ar$a" %e! #elhi &Affiliated &Affiliated to 'uru 'obind Sin(h Indraprastha )ni*ersit+,
CERTI0ICATE
This is to certif+ that the project !or$ done on 1IMPACT Of REALITY SHOWS On YOUTH2 submitted to 'uru 'obind Sin(h Indraprastha )ni*ersit+" #elhi b+ %inaya& Mi'(ra in partial fulfillment of the requirement for the a!ard of de(ree of Bachelor Of
Business Business Administ Administratio ration" n" is a bonafide bonafide !or$ carried out b+ him under m+ super*ision super*ision and and (uid (uidan ance ce-- This This !or$ !or$ has has not not been been subm submit itte ted d an+ an+!her !heree else else for for an+ an+ othe other r de(ree.diploma- The ori(inal !or$ !as carried durin( /0 1anuar+" /234 to 34 April" April" /234-
#r- #eepali Saluja
&Assistant Professor,
34th April /234
ounter si(ned b+5
!ire3t)r
AC45OWLE!GEME5T
CERTI0ICATE
This is to certif+ that the project !or$ done on 1IMPACT Of REALITY SHOWS On YOUTH2 submitted to 'uru 'obind Sin(h Indraprastha )ni*ersit+" #elhi b+ %inaya& Mi'(ra in partial fulfillment of the requirement for the a!ard of de(ree of Bachelor Of
Business Business Administ Administratio ration" n" is a bonafide bonafide !or$ carried out b+ him under m+ super*ision super*ision and and (uid (uidan ance ce-- This This !or$ !or$ has has not not been been subm submit itte ted d an+ an+!her !heree else else for for an+ an+ othe other r de(ree.diploma- The ori(inal !or$ !as carried durin( /0 1anuar+" /234 to 34 April" April" /234-
#r- #eepali Saluja
&Assistant Professor,
34th April /234
ounter si(ned b+5
!ire3t)r
AC45OWLE!GEME5T
I ha*e ta$en efforts in this project- 6o!e*er" it !ould not ha*e been possible !ithout the $ind support and help of man+ indi*iduals and or(ani7ations or(ani7ations-- I !ould li$e to e8tend m+ sincere than$s to all of themI am hi(hl+ indebted to #r- #eepali Saluja for their (uidance and constant super*ision as !ell as for pro*idin( necessar+ information re(ardin( the project 9 also for their support in completin( the projectI !ould li$e to e8press m+ (ratitude to!ards m+ parents 9 member of Banarsidas han handi di!a !ala la Inst Instit itut utee of Prof Profes essi sion onal al Stud Studie iess for for thei theirr $ind $ind co5o co5ope pera rati tion on and and encoura(ement !hich help me in completion of this project-
I !ould li$e to e8press m+ special (ratitude and than$s to industr+ persons for (i*in( me such attention and time-
M+ than$s and appreciations also (o to m+ collea(ue in de*elopin( the project and people !ho ha*e !illin(l+ helped me out !ith their abilities-
%inaya& Mi'(ra
&240424233/,
B)nafide Certifi3ate
This is to certif+ that as per best of m+ belief the project entitled ;IMP ; IMPAT AT Of R
S6O?S On >O)T6@ is the bonafide research !or$ carried out b+ ina+a$ Mishra student of BBA" BIPS" #!ar$a" %e! #elhi durin( 1anuar+5April /234" in partial fulfillment for the a!ard of the de(ree of o f Bachelor of Business AdministrationShe has !or$ed under m+ (uidance-
%ame5 Mrs- #eepali Saluja Pr)$e3t Guide 6Internal7
#AT<5
TABLE O0 CO5TE5TS S 5O
CO5TE5TS
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E8e3uti9e Summary
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Intr)du3ti)n
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Ab)ut t(e #r)$e3t
C-
Objective of the study
+"
Literature review
:"
Re'ear3( Met()d)l);y
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!ata C)lle3ti)n and !ata Analy'i'
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0indin;' < C)n3lu'i)n'
="
Su;;e'ti)n'
-*"
Anne8ure
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Bibli);ra#(y
PA'< %O
E8e3uti9e 'ummary Realit+ sho!s is the ne! mantra of tele*ision producers and channel e8ecuti*es- It is the means to increase TRP ratin(s and end is al!a+s to outdo the other channels and the Dsimilar5but5t!ea$ed5here5and5thereE sho!s churned out b+ the competition- So fierce is the competition in this se(ment that e*er+ channel boasts of at least t!o or three realit+ sho!s- Some of them are inherited le(all+ from abroad" &mostl+ and al!a+s from the )SA the 'odmother of Realit+ tele*ision, or some are cheap copies of sho!s from abroad- If one channel of ;1hala$ #i$hlaja@" a ta$e on the American #ance realit+ sho! ;#ancin( !ith Stars@" then another one has ;%ach Bali+e@ to offset its audience *alueBoth the sho!s boast of tele*ision hea*+!ei(hts" but at times the soups ser*ed b+ these sho!s becomes a concoction of sho! operas" bad production *alues and precarious mudslin(in(- )nli$e its forei(n contemporar+ !here contestantsE master classic dance st+les li$e the ji*e" rumba5samba" ballroom" etc-" these sho!s ma$es the contestants dance on ordinar+ 6indi son(s !hich ma$es the sho! quite mundane- Then there are the (lit7 talent sho!s" mostl+ sin(in( and dancin(" !hich ma$es us all feel that an+ other talent is !orthless unless it is ta$en to the sta(e- The !orst seems to be the addition of children to these sho!s- Apart from the ob*ious labor of shootin( these sho!s" the most disturbin( issue is the unearthliness of dance" crude choice of son( and impolite costumes for children a(ed bet!een 4 and 32- These sho!s &apart from becomin( platforms for mo*ies to be publici7ed, also produce talent !hich *er+ soon (oes into anon+mit+- There are other brands of realit+ sho!s qui77es- ;The Bourn *ita Gui7 ontest@ remained and !ill al!a+s remain" for me !ithout doubt" the epitome of di(nified" $no!led(eable and a polished format for fun and deli(ht for children and adults ali$e- #eric OE Brien !ill fore*er remain the consummate host !ho set trends for future $no!led(eFeature real people doin( real thin(s- Some can be hilarious" some can e*en ma$e the audience cr+ and some can ma$e the audience (o !ild- ReCalit+ sho!s are *er+ !ell accepted all o*er the !orld- Thousands of realit+ sho!s are alread+ been in a place called the heart of the audiences" for e8ample" Indian Idol" omed+ %i(hts !ith Hapil" HB" Bi( Boss" Roadies and man+ more- ?ith the help of realit+ sho! a lot of talents ha*e been disco*ered and the demand in business such as in ad*ertisin( is ma$in( a hu(e impro*ement- 6o!e*er !ith this $ind of pro(ram" a lot of thin(s ha*e been !asted and
the attitude of the contestants is chan(in( to be !orst as there is the lac$ of moral *aluesRealit+ sho!s are the platform for the people to present their talents- It is the best platform for the time bein( as realit+ sho!s are bein( !atched b+ thousands of people in front of the tele*ision- It is all about publicit+- 'ood publicit+ !ill lead to (reat popularit+ thus ma$in( the personEs talent easil+ disco*ered- %ot all the talents came from a person from a rich famil+- Most of them just did not $no! ho! and !here to sho! their talent- All the+ can thin$ about !as findin( and di((in( for mone+ to earn a li*in(?ith the ne! introduction of realit+ sho! the jud(es !hat the+ reall+ ha*e- This !ill definitel+ increase their le*el of confidence- As the jud(es !ill ne*er jud(e on ho! the+ loo$ li$e ph+sicall+ but the jud(es !ill search about ho! the+ e8press their true talent?hen the+ made it throu(h and bein( reco(ni7ed b+ the public" this !ill chan(e their li*in( to better onIn this research" the sample si7e of 322 samples !as considered in order to conduct the research- This research !as conducted specificall+ on +outh" a(e (roup consistin( of respondents a(ed bet!een 30 +ears to 4 +ears- The questionnaire mode !as selected for collection of data and the data !as interpreted throu(h MS <8cel- In MS <8cel" charts li$e Bar5#ia(ram" Pie5hart" 6isto(ram" and PIOT table !as used to present and interpret the data- For fillin( of questionnaire the method of non5probabilistic con*enience samplin( !as used- The main objecti*e of the stud+ !as to anal+7e ho! the realit+ sho!s are influencin( the people da+ to da+ lifest+le- This stud+ la+s emphasis on their beha*ior to!ards the realit+ sho!s" considerin( both positi*e and ne(ati*e aspects !ere anal+7ed-
Intr)du3ti)n Realit+ sho!s are the trump of producers of tele*ision industr+- ommon audience has become bored !atchin( the ne*er endin( melodramatic dail+ sho!s- From the ur(e of somethin( ne! the idea of realit+ sho!s spran( upSimultaneousl+" this emer(ed as a profitable platform for the serial ma$ers and (enerated (ood re*enues for tele*ision industr+ and created a *er+ (ood platform for thousands !ho !ant to achie*e (reat thin(s in their field of interest- The popularit+ of Indian realit+ sho!s lies in the fact that these are short termed +et these (enerate a perfect dose of entertainment for the *ie!ers- The characters that are part of Indian realit+ sho!s are realAs a result it becomes eas+ for the audiences to relate the participants- The stardom associated !ith the realit+ sho!s is enou(h dra!in( attention of common mass- But there are other sho!s also the idea of !hich is not praise !orth+ li$e S!ambarThe realit+ sho!s ma$es the most quotient of the *ie!ers- 6o!e*er" not all the sho!s ha*e been equall+ successful- Some of the Indian realit+ sho!s achie*ed an unpredictable success" other!ise rejected b+ the *ie!ers despite bein( hosted b+ the celebritiesAnother reason for the popularit+ of these realit+ sho!s is that these are the onl+ alternati*e to the melodramatic dail+ sho!sMoreo*er there are more belie*able then the episodes of the dail+ sho!s !hich ha*e someho! reached saturation point- The Indian realit+ sho!s ha*e been successful in offerin( a !ide *ariet+- Realit+ sho!s are sellin( li$e hot ca$es- All +ou ha*e to do is huddle up a handful a a*era(e people or small time starlets create a dramatic situation and !hoa" +our realit+ sho! is read+ to (o on air The best part about realit+ sho!s is that the+ (i*e quic$ fame and reco(nition e*en to the a*era(e people li$e +ou and meBesides" the *ie!er (ets a $ic$ out of all he emotional drama &!hich is scripted in most cases, that happens on sets- There is reall+ no death of realit+ sho! ideas but most re*ol*e around similar concepts- So In case +ou !ish to air +our o!n sho! someda+" then +ou ma+ ha*e to come up reall+ (ood ideas for sho!- The presence of popular
celebrities has also contributed in raisin( interest of the common mass- 'i*en belo! are some interestin( ideas for a realit+ sho!-
The Indian realit+ sho!s flourished itself in *arious fields such as sin(in(" dancin(" comed+" qui7" modellin(" hardcore stunts and man+ other talents- The e8citin( amount of pri7e !hich has hardl+ been assumed b+ the common people mar$ed difference in the popularit+ of the Indian realit+ sho!s- The presence of popular celebrities has also contributed in raisin( interest of the common massThe boom in the realit+ sho!s occurred li(ht after the success stor+ of ;Haun Bane(a rorepati@" anchored b+ ;Amitabh Bachchan@- This sho! offered a ma8imum cash pri7e of Rs- crore- The unprecedented success of the realit+ sho! opened up numerous a*enues for such sho!s on Indian tele*ision- The sponsors !ere read+ to in*est and to put all there !ere to death of participants- ?hile ;Haun Bane(a rorepati@ chan(ed the !a+ people loo$ed at the realit+ sho!sThe risin( popularit+ of the realit+ sho!s on tele*ision channels has added a ne! dimension to the production of T pro(rams- These sho!s (i*e opportunities to the prodi(ies residin( in the interiors of the countr+ to sho!case their talent- These sho!s ha*e not onl+ chan(ed the destin+ of the man+ tele*ision channels but also of man+ ordinar+ people- elebrit+ realit+ sho!s are another aspect of realit+ tele*ision that has become e8tremel+ popular !ith the audience-
Ab)ut T(e Pr)$e3t Media content anal+sis is an inte(ral part of media studies and research that hei(hten media users or citi7en understandin( the societ+- Media pro(rammers particularl+ telecast sho!s" are bound to ha*e positi*e or ne(ati*e on the societ+- Tele*ision is ar(uabl+ the most per*asi*e mass medium because it combines sound and pictures and no s$ills are necessar+ audience to !atch or enjo+ them- Toda+" realit+ sho!s !ith celebrit+ acts as clutter brea$in( propert+ for *ie!ers the+ pro*ide increased *isibilit+ and a chance to reach out a lar(e T *ie!in( audience" e*en thou(h the star quotient is important as it attracts *ie!ers instantl+" realit+ sho!s *ie!ers (lued to T monitors e*en !hen the star presence is less rele*ant- Thus it is of (reat importance that the impact of realit+ sho!s on societ+ is assessed- A *ie!er of rele*ant related studies has +ielded the follo!in( results: 5 C)medy 5i;(t' >it( 4a#il ? C)l)r'
omed+ %i(hts !ith Hapil is an Indian s$etch comed+ sho! that premiered on Dolors TE on D// 1une /23E- Man+ episodes feature celebrit+ (uests !ho usuall+ appear to promote their latest films in a comed+5focused tal$ sho! format- The sho! became IndiaJs hi(hest rated scripted T sho!- The Famous Phrase or slan( DBaba 1i Ha ThulluE is introduced b+ Hapil Sharma in this sho! !hich instantl+ become a sensation and too$ the ountr+ b+ storm- At %%5IB% Indian of the >ear a!ards" Sharma !as a!arded the ear a!ard for /23- It has attracted a lar(e number of *ie!ers across the countr+ and also fascinated man+ sports persons and celebrities- It has achie*ed a platform of ha*in( ma8imum number of *ie!s at a time in countr+!ideIndia@' G)t Talent C)l)r'
A(ain an adaptation from forei(n sho! (ot talent- The sho! has been adapted in more than 4 countries and Indian *ersion has seen 4 seasons from /22K till /23C- This concept of the sho! is different from and it does not concentrate on one aspectsL the sho! has been some brilliant solo dancers" sin(ers" stuntmen" and e*en painters and sand artist-
#urin( the semifinal and final rounds" *ie!ers *ote on !hich contestants !ill ad*ance- It is the first 'ot Talent format sho! in Asia" and IndiaJs first lar(e5scale tele*ised entertainment *ariet+ sho!" intendin( to sho!case IndiaJs best un$no!n acts and talentsThe sho! tra*els to different cities across India in search of interestin( local talent- The di*ersit+ of the sho! can also be (au(ed b+ its !inners and pri7e mone+ of Rs-42lacs and a Maruti Su7u$i Rit7- Its ne! season is (oin( to start in /234Indian Id)l ? S)ny T%
This is the first realit+ sho! in India for solo sin(ers- Onl+ channel has a similar sho! & popstars, but that has to find a band instead of sin(ers- Indian Idol actuall+ started the trend of brin(in( forei(n adapted *ersion of sho! on the Indian tele*ision- Till date sho! is famous and remains at the first place for +oun(sters to sho! their talent of sin(in( on tele*ision- The jud(in( panel in all the season has been top class- It !as started in /22C and has performed seasons till /23/4aun Banr;a Cr)re#ati S)ny T%
HB !as first realit+ sho! of India and so far remains the best realit+ sho! in India- The reason for $eepin( it at the first place is because it (i*e common people a chance to sho! their $no!led(e and earn mone+- It feels reall+ nice !hen people from all strata of societ+ are (i*en an equal chance to earn mone+ from their abilities rather than marr+in( some un$no!n supposedl+ T5starBIG BOSS C)l)r'
This can easil+ be said as a most contro*ersial sho! on Indian Tele*ision- The format of the sho! is simple +et challen(in(- A bunch of celebrities closed in a house !ithout the comfort of !atchin( T" friends" famil+" not e*en a !atch- But the+ are !atched around the cloc$ !ith cameras all around the house- Some of the contestants li$e Bindu" Sameer" Soni" Rajee* ha*e re*i*ed their sin$in( careers b+ participatin( in BI' BOSSMT% R)adie' MT%
The lon(est runnin( realit+ sho! is on third position of m+ list- It has completed 0 seasons and season K on its !a+- This is on that one donEt (et bored of best episode are the auditions- Ra(hu" Rajee* and Ran*ija+ just tear the contest apart- There are no fi8ed standards as to the contestantL the+ are selected on their realness- I am no emplo+ee of MT and !ould li$e to point out the jud(es there !ant the real +ou- It has cra*ed the +oun(sters mind to!ards it and tal$s are there for it in countr+- >oun(sters are so addicti*e to ta$e part in it and ha*e chan(ed their !a+ to tele*ision- It is the most !atched sho! b+ +oun( a(e and the comin( (enerationCrime Patr)l S)ny T%
rime
Patrol is
an Indian crime realit+
tele*ision antholo(+
series created
b+
Subramanian S- l+er for Son+
Sa*dhaan India 5 India Fi(hts Bac$ &
Sin(h" 'aura*
hopra" Mohnish
Behl" Pooja
'aur " Saurabh
Raj
1ain and 6iten Tej!ani- It focuses on real5life crimes stories in IndiaInitiall+ the series ran on Star Plus- A rebooted *ersion called NSa*dhaan India 5 India Fi(hts Bac$N telecasted on =ife OH on / 1ul+ /23/- ersions of the pro(ram ha*e also
aired as Sa*dhaan India 5 Mumbai Fi(hts Bac$ !hich !as hosted b+ Atul Hul$arni ;Sa*dhaan India 5 rime Alert and Sa*dhaan India 5 )-P Fi(hts Bac$@Ma'terC(ef India Star Plu'
Masterhef India initial rounds consist of a lar(e number of contestants from across India indi*iduall+ auditionin( b+ presentin( a dish before the three jud(es to (ain one of 42 semi5final placesThe semi5finalists then compete in se*eral challen(es !hich test their food $no!led(e and preparation s$ills- In Season 3 and /" the top 42 competed until 3/ !ere left" !ith the final 3/ pro(ressin( to the main sta(e of the sho!- The !inner competes for a pri7e that includes their o!n coo$er+ sho!" the chance to ha*e their o!n coo$boo$ published" and
3"22"22"22 in cash- Its moti*e is to promote the ne! !a+s of coo$in( st+le format
in India- As India bein( the land of *ariet+ of spices" people here (roup these to create somethin( ne! out of it- This sho! pro*ides these ne! comers to outperform their competitors and also to boost their talent of coo$in(- The jud(es for season C are hef i$as Hhanna" hef Sanjee* Hapoor and hef Ran*eer Brar5a3( Baliye Star Plu'
%ach Bali+e 4 started in /23/ and ended in March /23 !ith !inners 1a+ Bhanushali and Mahii ij- Haran ?ahi and 'autam Rode hosted the pro(ram- For season 4" the jud(es !ere Shilpa Shett+" Sajid Hhan and Terrence =e!is- The sho! is a competition !herein 32 tele*ision celebrit+ couples compete a(ainst each other- ontestants dance to a different tune" different theme and different st+les e*er+ !ee$ and scores are (i*en b+ the jud(es-
Ob$e3ti9e' )f Study
3
The main objecti*e of the stud+ is to identif+ the effects of *arious t+pes of realit+
/
sho!s on +outhStud+ the chan(es adopted b+ the +outh in their beha*iorThe objecti*e of this stud+ is to in*esti(ate the impact that realit+ tele*ision sho!s ha*e to!ards the *ie!ers" specificall+ to the +outh bet!een the a(e (roup
C
of 30 to 4To stud+ main research question !as DTo !hat e8tent do the realit+ T sho!s influence the +outh in ne(ati*e and positi*e manners
Literature Re9ie>
India has been (roomin( to the lar(e number of realit+ T sho!s recentl+ and the most of them ha*e been contro*ersial to some e8tent !ith certain scenes and episodes abusin( the tradition and cultural *alues of the countr+- There are different re*ie!s of the people belon(in( to different !al$s of the life and the impact of the realit+ sho! is pa*in( its !a+ toda+- The realit+ sho! debates held throu(h different mediums has found more criticism a(ainst such crude sho!s on man+ national tele*ision channels- The stron(est the stron(est question that is bloomin( in the air a(ainst these is that" ;should realit+ sho!s be banned@ The 3 essa+s in this ne! collection tac$le the (enre" industr+" culture politics" and reception of realit+ T in an effort to update tele*ision scholarship- ) #epartment of ulture and ommunication and =aurie Ouellette" #epartment of Media Studies at GueenEs olle(e" it+ )ni*ersit+ of %e! >or$" ar(ues that the theoretical and anal+tical methods in this field of tele*ision studies are no lon(er sufficient tools to anal+7e an increasin(l+ comple8 and fra(mented tele*isual en*ironment- ?ith the e8ception of 1ennifer MaherEs essa+" ;?hat #o ?omen ?atches Tunin( into the compulsor+ 6eterose8ualit+ hannel"@ and had RaphaelEs" ;The Political
entertainment industr+- Ma(dar re*eals the three industr+ strate(ies unique to realit+ T: the hea*+ use of product placementL the e8pansion of the product tie5insL and the e8tension of the pro(ram be+ond the bo81ustin =e!isE research on tele*ision reception su((ests that the difference bet!een realit+ and artifice remains at the heart of the pleasure and politics of tele*ision *ie!in( audience that forms the conte8t of Pamela ?ilsonEs essa+" 1ammin( Bi( Brother?ilsonEs research and her close scrutin+ of the actions of online communities" culture jammers" and producers of Bi( Brother pro*ides *aluable and timel+ insi(ht into the comple8 relationship that e8ist bet!een producers" participants" and audience" and her contribution is a si(nificant e8ample of the t+pe of obser*ational research that !ent into man+ of these essa+s- As one of the first collections of ne! research on realit+ T" this boo$ is absolutel+ necessar+" and it !ill be of use to academics" students" and an+one see$in( a better cultural understandin( of the e*olution and impact of this popular formThis !as DRe*ie!ed b+ 1oAnne Stober" oncordia )ni*ersit+EThe realit+ sho! has emer(ed as a *isible site for contemporar+ debates o*er modern fame- In fact !hile issue of DtasteE and Dculture *aluesE ha*e lon( since shaped conceptions of the celebrit+ &Turner" Bonner" Marshall 30," the issue of fame has pla+ed a central role in the ne(ati*e culture criticisms of realit+ sho!s- In the conte8t of fame" it is more appropriate to su((est that a number of critical positions ha*e emer(ed on realit+ sho!s ha*e emer(ed- For e8ample" !hat is probabl+ the most pre*alent perspecti*e in circulation" contestants ha*e persistentl+ been constructed as e8emplif+in(" and in man+ !a+s acceleratin(" a shift to!ards a fame culture in !hich an emphasis on Dfamous for bein( famousE has re(rettabl+ triumphed o*er the concepts of talent and hard !or$ &6olmes" ;All@,&see" Marshall K533,The Osbournes !ithin an appropriate (enre is to loo$ at MTEs presentation of the sho!MT sells The Osbournes as a realit+ T sitcom and indeed its narrati*e structure is loosel+ similar to the sitcom formula" !ith real5life se(ments edited and sequenced to be reminiscent of a scripted pro(ram- The Osbourne seems to be more closel+ ali(ned inter5 te8tuall+ to another most recent sub(enre of sitcom" the anti5fifties sitcoms such as
Roseanne and Married !ith children- It is important that !e reali7e that MT !as the producer of this ne! m+th- It is no! a truism to that MT chan(ed roc$ Dn roll b+ ma$in( it more ima(e conscious- MT had prepared the !a+ for a performati*e documentar+ about a roc$ star ;performin(@ in his home b+ continuall+ broadcastin( into the home ima(es of roc$ star performin(6ere" realit+ T contestants are seen as fallin( *ictim to the manipulati*e po!ers of ruthless fame5ma$in( machine- Often +o$ed to an emphasis on the ephemeral nature of their celebrit+" here !e encounter cautionar+ tales about the price public *isibilit+ and the lure of immediate !ealth" a penalt+ !hen" as one pro(ram put it" Dinstant tele*ision fame is o*er in a dreamE &Toni(ht !ith tre*or Mc#onald" 3T3" 3 Feb- /22C,- In contrast" the centralit+ of the Dordinar+E person turned celebrit+ has been read in terms of democrati7ation" both in relation to access to the tele*isual air!a*es &Ba7al(ette, and to the d+namics of public. media *isibilit+ itself &see Biressi and %unn,These positions clearl+ intersect" their distinctions lar(el+ inflected b+ the perspecti*e of the obser*er- For e8ample" !hat is the producerEs claim to DdemocratisationE is the criticEs class based distaste for all these Da!ful ordinar+E people on tele*ision &see Ba7al(ette,1oshuaEs 'amsonEs &laims" ;Assembl+@, !or$ in particular has usefull+ su((ested a picture in !hich certain positions on" or De8planations of flameE" ha*e had a historical si(nificance in *+in( for cultural *isibilit+- ?ith the (ro!th of the arts and technolo(ies and the establishment of celebrit+ as a mass phenomenon &see 'amson" ;Assembl+@ /3," public *isibilit+ became increasin(l+ detached from aristocratic standin(" !ith discourses of democrac+ as epitomi7ed b+ the American conte8t increasin(l+ comin( to the fore?hile the focus ma+ no! ha*e been predominantl+ on the culture of the Dpersonalit+E" 'amson ar(ues that the primar+ narrati*e !as still one of DnaturalE rise &;Assembl+@" /C,- The increasin( pre*alence of the DmanufactureE discourse" !here it henceforth becomes !hat 'amson describes as a Dserious contenderE in e8plainin( celebrit+ &laims CC,- In particular" he points to!ard the t!ins de*ices of the De8poserE of the process and
the construction of an ironic and moc$in( perspecti*e on celebrit+ culture" both of !hich can be seen to offer the audience a flatterin( position of po!er&laims /, Realit+ T sho!s !ould appear to be paradi(matic of these discursi*e shifts in fame?hile this report emphasi7e the specificit+ of particular formats belo!" realit+ T in the form of Bi( Boss" Indian Idol" or omed+ %i(hts ha*e made a particular claim to Dre*ealE or De8poseE the process of fame construction- In mediatin( the threat of the manufacture discourse" the e*identl+ spea$ quite e8plicitl+ to an emphasis on the Dpo!erE of the audience (i*en that" throu(h the no! familiar use of interacti*it+ &see 6olmes" ;But@," the+ construct the audience as operatin( as the ultimate creator of the celebrit+- In this respect" !ithout the iron+ or humor that has become such a per*asi*e aspect of contemporar+" ;celebrit+ co*era(e@" &see 'amson" laims" ;Assembl+@," the pro(rams clearl+ also re5peddle traditional e8planation of the fame for contemporar+ cultural composition &6olmes" ;Realit+@,In the conte8t of !ider ar(ument that star !or$s to articulate ideas of personhood or selfhood &#+er" Stars," one of Richard #+erEs $e+ inter*ention !as to su((est that stars function to !or$ throu(h discourse of indi*idualism &see also Marshall,- #+er conceptuali7ed this as" Da separable" coherent qualit+" located ;inside@ consciousness and *ariousl+ termed ;the self@" ;the soul@" ;the subject@QE The pop pro(rams to the celebrit+5realit+ sho!s !inners are often chosen and applauded because the+ are seen to ha*e been the most DtrueE to themsel*esAnnette
6ills
describes
ho!
the
D(ameE
is
Dto
find
the
;truth@
in
the
spectacle.performance en*ironmentE &," and as this quite implies" this is far from su((estin( that audiences ha*e (i*en up on the idea of Dthe realE in realit+ T &6ill 1ones,-the primar+ site on !hich this is pla+ed out is the representation of the self an arena !hich stardom and celebrit+ has historicall+ placed center sta(e &#+er" Marshall,The impact of realit+ sho!s in India is hi(hl+ abusi*e and immoral- These are a $ind of sho!s are (i*in( a bad influence to the +outh of the nation and destro+in( the con*entional norms of the societ+- There are no certain restriction bet!een the adult realit+ sho!s and childrenEs realit+ sho!s- The major part of the earnin( from such sho!s
are (one to hosts and the scene people but the one actuall+ performin( the darin( scenes are (i*en just small part of it- Sometimes" certain participants !ho donEt achie*e success e*en tend to (o to!ards depression-
Re'ear3( Met()d)l);y Re'ear3( )b$e3ti9e
Primar+ objecti*e: 3-, To stud+ the beha*ior of the *ie!erEs to!ards realit+ sho!s/-, To $no! the future of realit+ sho!s-, To stud+ the perception of the *ie!erEs to!ards realit+ sho!sT+pe of data required: For doin( this research !e ha*e used both secondar+ and primar+ dataPrimar+ data collected in the form of questionnaire and secondar+ data in the form of journals" literature and data from the internet#ata collection method: #ata !as collected throu(h different means some of them are as follo!s: 3-, Personal administration of questionnaire/-, Secondar+ data collected from !ebsites and journals-, Informal inter*ie!s" sur*e+ !ith the indi*iduals !ho use to !atch T re(ularl+Tar(et Population #ue to the nature of our research title !e had focused for +outh bet!een 34 to 2 +ears of a(e as tar(et populationSamplin( method Method opted for this stud+ !as ;%on probabilit+ con*enience samplin(@Sam#le Sie
Research T+pe:
The t+pe of stud+ is ;#escripti*e Research #esi(n@The stud+ !as conducted usin( MS <8cel !hereb+ the questionnaire !as ta$en to the respondents personall+Samplin( Samplin( is a definite plan for obtainin( a sample from (i*en populationFor the purpose of present stud+" simple random samplin( has been selected from different areas of Metro cit+o o
Sample si7e :5 A sample is set of numerical data- Sample is the representati*e of the population that a researcher tar(ets to carr+ out a specific research" that representati*e part of the population is $no!n as sample si7eIn this case I ha*e ta$en sample as 322-
o
Methods :5 322 samples from the population are selected on the basis of con*enience samplin(- As the name implies" the sample are selected because the+ are con*enient- on*enience samplin( attempts to obtain a sample of con*enient elements- Often" respondents are selected because the+ happen to be in the ri(ht place at the ri(ht time-
Methods of #ata ollection o
Primar+ research :5 Primar+ data refers to the data collected for the first time- Primar+ data can pro*ide information about demo(raphic and socio5economic characteristics" ps+cho (raphic characteristics" attitude and moti*ation and intensions- Tools used b+ me for primar+ research is Guestionnaire
o
Secondar+ Research :5
Secondar+ data refers to the data pre*iousl+ collected for an+ purpose but can be used in the current stud+- Tools used b+ me for secondar+ research are: ?ebsites 1ournals Ma(a7ines Tools )sed Tools used for the stud+ is MS <8celIn MS <8cel for data anal+sis I ha*e used:5 • • • •
Pie5chart 6isto(ram Bar5hart PIOT table
I ha*e used MS !ord for t+pin( purposes and questionnaire ma$in(-
DATA AND INTERPRETATION
G3- Are +ou follo!in( the realit+ sho!s lifest+le in +our dail+ routine
Reso!de!ts Yes
45%
55%
Measur es Respon dents
Yes
No
45
55
No
This question states that C4 out 322 samples is follo!in( life st+le of realit+ sho!s in their dail+ routine !here 44 of people are not follo!in( it-
G/- #oes it impact on +our dail+ routine
Chart itle 60 50 40 30 20 10 0
e r e g s a i D l y g n r o t S
Measures Responde nts
e r e g s a i D
l r a t u N e
Stron( l+ #isa(r %eutr #isa(r ee al ee 3
/K
CK
e r e g A
A(re e
Stron( l+ A(ree
/
e r e g A y l g o n r S t
This interpret that 3 of the sample population is stron(l+ disa(ree !ith this ar(ument !here /K sa+s this does not effects their personal life and CK are neutral to this statement as does a(ree !ith it and / stron(l+ emphasi7e it-
G- #o +ou thin$ !hate*er sho!n in realit+ sho!s is real
60
50
40
Su! o" Strongly Disagree Su! o" Disagree
30
Su! o" Neutral Su! o" Agree
20
Su! o" Strongly Agree
10
0
Measures Responde nts
ota l
Stron( l+ #isa(r %eutr A(ree #isa(r ee al ee 3C
//
CK
3
Stron( l+ A(ree /
This result interprets that mostl+ population those !atches these sho!s are in confusion about its e8istence-
GC- #oes it influence +our beha*ior
Respondents
Measures Responde nts
Strongly Disagree
Disagree
Agree
Strongly Agree
Stron( l+ #isa(r %eutr A(ree #isa(r ee al ee 32
3
4
4
Neutral
Stron( l+ A(ree C
In here" the result concluded that respondents had ne*er thou(ht about or ha*enEt obser*ed this aspect of the coin-
G4- #oes it impact +our personalit+
Reso!de!ts 50 45 40 35 30 25 20 15 10 5 0 0#5
1
Measures Responde nts
1#5
2
2#5
3
3#5
Stron( l+ #isa(r %eutr A(ree #isa(r ee al ee /K
C
/4
2
4
4#5
5
5#5
Stron( l+ A(ree 2
This depicts that /K are strai(htl+ sa+in( no to it !hereas C of the population also disa(ree !ith the statement- /4 of the population sho!s no reaction to this statement and none of the respondents said +es or confidentl+ stands in fa*or of the aspect of the statement-
G- #o +ou thin$ it is (ood for societ+
Respondents 50 45 40 35 30 25 20 15 10 5 0
e r e g a i s D l y g n r o S t
Measures Responde nts
e r e g a i s D
l r a t e u N
e r e g A
Stron( l+ #isa(r %eutr A(re #isa(r ee al e ee /
33
C
/C
e r e g A y l n g o r S t
Stron( l+ A(ree 3
This interprets that 0 of the respondents sho!ed no response to this statement as /3 !ere in fa*or and 4 of the respondents supports the statement- / of the respondents said no to this statement !hile 3 respondents !ere a(ainst the statements-
G- #o +ou support realit+ sho!s
Reso!de!ts
!"y A"ree# (4%
Disa"ree#
%$
%$Neutra# 54%
Measures Responde nts
Stron( l+ #isa(r %eutr A(re #isa(r ee al e ee 2
4C
/
Stron( l+ A(ree 3C
This interprets that / of the audience support the realit+ sho!s and also 3C of the respondents are positi*el+ in fa*or of the statement !hereas 4C of the audience sho!ed no reaction to!ards it-
G0- #oes +ou feel ri(ht" the !a+ the+ interact !ith *ie!ers
Reso!de!ts 34 2$
l y g n o t r S
e r e g a i s D
Measures Responde nts
15
13
11
e r e g a i s D
l a r t u e N
e r e g A
S
Stron( l+ #isa(r %eutr A(re #isa(r ee al e ee 33
3
C
/
l y g n o t r
e r e g A
Stron( l+ A(ree 34
?ith this response !e can conclude that 34 of the respondents are li$el+ to promote these sho!s and / sho!s appositi*e response to!ards these !here 3 sho!ed less interest in it and 33 sa+ should not be promoted-
GK- ?hat t+pe of impact does realit+ sho!s ha*e on +ou :5
a- It moti*ates +ou to present +our talent-
Reso!de!ts Strongly Disagree Disagree
()%6% ((% (
%$Neutral Agree Strongly Agree
54%
Measures
Stron(l + #isa(re e
Respondent s
#isa(re %eutra e l 33
4C
A(ree
Stron(l + A(ree
3
3
This interprets that 4C of the respondents sho!ed no response to this statement as 3 !ere in fa*or and 3 of the respondents supports the statement- 33 of the respondents said no to this statement !hile respondents !ere a(ainst the statements-
b- It effects +our perception to!ard different thin(s-
Respondents Strongly Disa gree 40
20 Strongly Agree
Disagree 0
Agree
Measures Responde nts
Neutral
Stron( l+ #isa(r %eutr A(re #isa(r ee al e ee 3K
3
33
Stron( l+ A(ree /
This interprets that of the respondents sho!ed no response to this statement as 33 !ere in fa*or and / of the respondents supports the statement- 3 o f the respondents said no to this statement !hile 3K respondents !ere a(ainst the statements-
c- It creates a!areness in societ+-
Reso!de!ts (&% 4%
Strongly Disagree
((%
Disagree Neutral
(
%$Agree Strongly Agree
5*%
Measures
Stron(l + #isa(re e
Respondent s
C
#isa(re %eutra e l 33
4
A(ree
Stron(l + A(ree
3
3/
This interprets that 4 of the respondents sho!ed no response to this statement as 3 !ere in fa*or and 3/ of the respondents supports the statement- 33 of the respondents said no to this statement !hile C respondents !ere a(ainst the statements-
d- It boosts +our moral-
Respondents 50 40 30 20 10 0 0#5
1
1#5
2
Measures
Stron(l + #isa(re e
Respondent s
3
2#5
3
3#5
#isa(re %eutra e l /K
C
4
4#5
A(ree
Stron(l + A(ree
K
/
5
5#5
This depicts that 3 are strai(htl+ sa+in( no to it !hereas /K of the population also disa(ree !ith the statement- C of the population sho!s no reaction to this statement and K of the respondents said +es or confidentl+ stands in fa*or of the aspect of the statement-
e- It helps in choosin( +our career-
,hart Tite ) + 4&
Respondents )( ($ 0
5
10
15
20
25
30
Strongly Disagree
Disagree
Agree
Strongly Agree
Measures
Stron(l + #isa(re e
Respondent s
3
#isa(re %eutra e l 3
C/
35
40
45
Neutral
A(ree
Stron(l + A(ree
0
This depicts that 3 are strai(htl+ sa+in( no to it !hereas 3 of the population also disa(ree !ith the statement- C/ of the population sho!s no reaction to this statement and 0 of the respondents said +es or confidentl+ stands in fa*or of the aspect of the statement-
f- It helps +ou in ma$in( !iser decisions-
50 45 40 35 30 25 20 15 10 5 0
Su! o" Strongly Disagree Su! o" Disagree Su! o" Neutral Su! o" Agree Su! o" Strongly Agree
ota l
Measures
Stron(l + #isa(re e
Respondent s
3
#isa(re %eutra e l //
C4
A(ree
Stron(l + A(ree
34
/
This interprets that C4 of the respondents sho!ed no response to this statement as 34 !ere in fa*or and / of the respondents supports the statement- // of the respondents said no to this statement !hile 3 respondents !ere a(ainst the statements-
(- Impro*es +our communication s$ills-
Reso!de!ts Strongly Agree Agree Neutral Disagree Strongly Disagree 0
Measures
Stron(l + #isa(re e
Respondent s
33
10
20
30
#isa(re %eutra e l /
CK
40
50
A(ree
Stron(l + A(ree
34
2
60
?ith this response !e can conclude that none of the respondents ha*e an+ impact on their communication and 34 sho!s a positi*e response to!ards these !here / responded no in it and 33 sa+s it does not ha*e an+ impact on their communication s$ill and CK sho!ed no response to it-
h- Increases understandin( capabilit+ to!ards ne! possibilities-
Respondents 50 45 40 35 30 25 20 15 10 5 0 Strongly Disagree Disagree
Measures
Stron(l + #isa(re e
Respondent s
30
Neutral
#isa(re %eutra e l 3
CC
Agree
Strongly Agree
A(ree
Stron(l + A(ree
2
This depicts that 30 are strai(htl+ sa+in( no to it !hereas 3 of the population also disa(ree !ith the statement- CC of the population sho!s no reaction to this statement and of the respondents said +es or confidentl+ stand in fa*or of the aspect of the statement-
i-
Impro*es creati*e s$ills-
Reso!de!ts 4*
&( (5
(4
e r e g a i s D l y g n r o t S
l r a t e u N
e r e g a i s D
Measures
Stron(l + #isa(re e
Respondent s
3C
#isa(re %eutra e l /3
C
e r e g A
)
e r e g A l y g n r o t S
A(ree
Stron(l + A(ree
34
This interprets that C of the respondents sho!ed no response to this statement as 34 !ere in fa*or and of the respondents supports the statement- /3 of the respondents said no to this statement !hile 3C respondents !ere a(ainst the statements-
j-
Impro*es +our $no!led(e-
Reso!de!ts Strongly Disagree
Disagree
Neutral
Agree
Strongly Agree ((%(% (*%
(-% 5&%
Measures Responde nts
Stron( l+ #isa(r %eutr A(ree #isa(r ee al ee 3
3K
4/
33
Stron( l+ A(ree 3
?ith this response !e can conclude that 3 of the respondents are li$el+ to promote these sho!s and 33 sho!s appositi*e response to!ards these !here 3K sho!ed less interest in it and 3 sa+ should not be promoted and 4/ sho!ed no response to it-
$- #e*elops ne! career opportunities-
Reso!de!ts Strongly Agree
Agree
Neutral
Disagree
Strongly Disagree 0
Measures
Stron(l + #isa(re e
Respondent s
3
5
10
15
#isa(re %eutra e l /
0
20
25
30
A(ree
Stron(l + A(ree
/3
4
35
40
This interprets that 0 of the respondents sho!ed no response to this statement as /3 !ere in fa*or and 4 of the respondents supports the statement- / of the respondents said no to this statement !hile 3 respondents !ere a(ainst the statements-
l-
6elps in representin( +ourself-
Reso!de!ts 60 50 40 30 20 10 0
e r e g a i s D l y g n r o S t
l r a t e u N
e r e g a i s D
Measures
Stron(l + #isa(re e
Respondent s
3
#isa(re %eutra e l /3
CK
e r e g A
e r e g A y l n g o r S t
A(ree
Stron(l + A(ree
0
This interprets that CK of the respondents sho!ed no response to this statement as 0 !ere in fa*or and of the respondents supports the statement- / 3 of the respondents said no to this statement !hile 3 respondents !ere a(ainst the statements-
m- 6elps in interactin( !ith people-
Reso!de!ts Strongly Disagree
Disagree
Neutral
Agree
Strongly Agree
Measures
Stron(l + #isa(re e
Respondent s
K
#isa(re %eutra e l 3
C0
A(ree
Stron(l + A(ree
30
K
This depicts that 3 are strai(htl+ sa+in( no to it !hereas /3 of the population also disa(ree !ith the statement- CK of the population sho!s no reaction to this statement and 0 of the respondents said +es or confidentl+ stands in fa*or of the aspect of the statement-
n- 6elps in impro*in( +our lifest+le-
60 50 Su! o" Strongly Disagree
40
Su! o" Disagree 30
Su! o" Neutral Su! o" Agree
20
Su! o" Strongly Agree
10 0
ota l
Measures
Stron(l + #isa(re e
Respondent s
33
#isa(re %eutra e l 30
4/
A(ree
Stron(l + A(ree
3K
2
From the abo*e data it is *er+ much clear that onl+ 3K of the audience follo! the realit+ sho! st+le in their life !hile 4/ sho!ed a neutral beha*ior to!ards it and 30 of the respondents said no to this statement !hile 3K of these ne(ati*el+ critici7ed it-
Limitati)n
•
Because of time constraint" the stud+ confines onl + to a small cities in spite of
•
rural and urban cities and to!nThe stud+ onl+ tar(eted to those respondents !atchin( realit+ sho!s of metro cities in spite of rural and urban cities or to!ns-
0indin;' and C)n3lu'i)n
3
It !as found that onl+ K of the population (ets moti*ated b+ the realit+ sho!s
/
!hile a major part of the 4C sho!ed neutral beha*iorIt concludes that 3 of the total sampleEs perception is influenced to!ards
different thin(sIt depicts that onl+ /0 of the people thin$ that it creates the a!areness in the
C
societ+ !hereas 34 denies to the statementRealit+ sho!s are capable of boostin( the morale of the people as a major part of
4
C sa+s the+ are neutralRealit+ sho!s are lac$in( in the field of (eneratin( career opportunities as of
them beha*es ne(ati*el+It !as found that C4 of the people prefer to follo! the realit+ sho!s lifest+le in
their dail+ life routineStud+ states that 3 of the population thin$s it enable then to ma$e !ise
0
decision !here 0 of this population contradicts this statementRespondentEs states that 30 of the people are attracted to impro*e their creati*e
K
s$ills as C are neutral and 4 denies this fact33 of the population sa+s that it helps in selectin( their career !here C/ of the population are neutral and C of this statement-
SUGGESTIO5S
Realit+ sho!s should produce some contents !hich are related to the !elfare of
the societ+ as 4 of the respondents !ere neutral Sho!s must use more influencie*e techniques to boost the morale of the people as C of the respondents beha*e neutrall+ The stud+ sho!s that onl+ C4 of the respondents !ere follo!in( these sho!s on dail+ basis so the+ need to de*elop more attracti*e content and t!ist !hich binds the people to!ards it Realit+ sho!s must use more influencie*e moti*ational tools to moti*ate the o ther *ie!ers to come and present their talent in front of the tele*ision Realit+ sho!s should pro*ide the information relatin( to the ne! opportunities of career and enables the *ie!er to thin$ in its reference-
Anne8ure
Im#a3t )f Reality S()>' )n Y)ut( !i'3laimer ? Plea'e n)te t(at t(e inf)rmati)n 3)lle3ted by y)u i' f)r 'tudy #ur#)'e )nly and y)ur identity >ill be &e#t an)nym)u'" S) #lea'e feel free t) an'>er t(e Due'ti)n' bel)>" &1# Do you 'at(h tele)ision* Yes
o
o
No
&2# +o' !u(h ti!e do you spend on 'at(hing tele)ision* 0,2 hrs#
More than 6 &3# -hat type o" things do you 'at(h on tele)ision regularly* o
o
2,4 hrs#
o
4,6 hrs#
o o Ne's Serials Mo)ies o o o Sports .no'ledge Channels /thers &4# Do you 'at(h reality sho's* o
o
o
Reality Sho's
Yes No o &5# +o' !u(h ti!e do you spend 'at(hing reality sho's* o
0,2 hrs#
More than 4 &6# -hy do you pre"er to 'at(h reality sho's* o
t puts !e in good !ood#
o
o
2,4 hrs#
t sho's real things#
o
o
o
t !aes !e learn ne' things#
o
Reality sho's are entertaini ng#
o
/ther s#
&$# -hat type o" reality sho's you lie to 'at(h* o
o
Dan(e ased#
Cooing ased#
Singing ased#
o
eople eha)iour ased#
o
o
o
als ased#
o
Co!ed y ased#
o
.no'ledg e ased#
o
alent represent ation ased#
/thers#
&# /n 'hat (hannel do 'at(h reality sho's* o
ee #
o
Channel #
o
Color s#
o
M #
o
Star lus#
/thers#
o
&7# -hat inspires you to 'at(h reality sho's the !ost* Dan(e #
o
o
Cooin g#
o
Singing#
eople eha)io ur#
o
als#
o
Co!ed y#
o
.no'led ge#
o
o
alent representatio n#
/thers#
o
&10# Are you "ollo'ing the reality sho's li"estyle in your daily routine* o
Yes
o
No
&11# Does it i!pa(t on your daily routine* o
Strongl y Disagre e
o
Disagre e
o
Neutra l
o
Agre e
Strongly Agree
o
&12# Do you thin 'hate)er sho'n in
reality sho's is real* o
o
o
o
o
o
Strongl y Disagre e Strongl y Disagre e Strongl y Disagre Strongl e y Disagre e Strongl y Disagre e Strongl y Disagre e
o
Disagre e
o
Neutr al
Agree
o
Strongly Agree
o
&13# Does it in8uen(e your eha)iour* o
o
o
o
o
Disagr ee
o
Neutr al
Disagr o Neutra ee l Disagree o Neutra l Disagre e
Disagr ee
o
o
Neutra l
Neutra l
Agree
o
Agree
o
o
o
o
o
Agree
i!pa(t does reality sho's ha)e on you* :,
Strongly Agree
o
Agree
Agree
Strongly Agree
o
o
o
Strongly Agree
Strongly Agree
&14# Does it i!pa(t your personality* &15# Do you thin it is good "or so(iety* &16# Do you support reality sho's* &1$# Does you "eel right9 the 'ay they intera(t 'ith )ie'ers*
Strongly Agree
&1# -hat type o"
Ratin;'
Str)n;ly !i'a;ree
C(ara3teri'ti3' It moti*ates +ou to present +our talentIt effects +our perception to!ard different thin(sIt creates a!areness in societ+It boosts +our moralIt helps in choosin( +our careerIt helps +ou in ma$in( !iser decisionsImpro*es +our communication s$illsIncreases understandin( capabilit+ to!ards ne! possibilitiesImpro*es creati*e s$illsImpro*es +our $no!led(e#e*elops ne! career opportunities6elps in representin( +ourself6elps in interactin( !ith people6elps in impro*in( +our lifest+le-
!i'a;ree
5eutral
A;ree
Str)n;ly A;ree
