INFLUENCE OF BIG BROTHER AFRICA TELEVISION REALITY SHOW ON YOUTHS
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INFLUENCE OF BIG BROTHER AFRICA TELEVISION REALITY SHOW ON YOUTHS
Chapter One:
Introduction
1.1 Background of The Study
Since the turn of the twenty-first century, reality television has dominated both cable and broadcast primetime television programming schedules. Reality TV refers to shows that do not feature actors and allow viewers to participate as contestants.
While any live, unscripted, or non-fiction programme can be classified as reality TV, this investigation eliminates news, interviews, and discussion shows, which were previously popular television programmes, and instead focuses on competitive and entertaining reality TV shows.
Those in the television industry understand that reality TV is the most profitable type of television programming since it has fewer production costs and frequently attracts more viewers and advertising income than scripted programmes (Hirschhorn, 2007). However, it is not always clear why more people are viewing reality television.
Reality television is a broad category that encompasses a wide range of programmes aimed at being both factual and entertaining; it is a genre that has become the most popular programme among viewers and has made its way into African society.
Reality television is becoming increasingly popular among young people, particularly those aged 18 to 25 (Baumgardner, 2003; Brasch, 2003; Hiltbrand, 2004).
Reality television can be defined by four characteristics: the attempted use of passive camera surveillance, the illusion of reality, a concentration on ordinary people, and a certain level of voyeurism.
Although all reality shows share these characteristics, it is difficult to categorise reality television as a standalone genre because it pulls from a variety of sources.
Reality television, like many other television programmes, is always evolving and changing. The genre’s capacity to draw from a variety of genres makes it difficult to describe, but it also makes it diverse.
Various scholars, including Hill (2002:326), define reality television as factual entertainment and identify three sub-genres of factual entertainment: observation programmes, information programmes, and television programmes.
Observation programmes are documentaries about average people in everyday settings. Documentaries based on genuine stories with the goal of teaching viewers anything, such as medical emergencies and pets, are examples of information programmes.
According to Roscoe (2001) and Malakoff (2005), reality television shows feature actual individuals in exceptional situations and capture their reactions. Thus, as Roscoe (2001) points out, the traditional distinctions between fact and fiction, theatre and documentary, and audience and text are blurred.
There are currently African versions of Fear Factor, Biggest Loser, and Idols. Other African countries have versions of similar shows with different names.
Big Brother is a reality television show that follows a group of people living in a large house, isolated from the outside world, and constantly monitored by cameras.
The concept is inspired by George Orwell’s novel 1984, which depicts a world of constant surveillance. Oceania’s tyrant, Big Brother, uses the ominous tagline “Big Brother is watching you.” Big Brother competitors strive to avoid eviction and win the prize money.
Big Brother Africa, with an estimated viewership of more than forty million (40,000,000) across Africa, is the African version of the reality game show Big Brother. However, with the growth of satellite television in Africa, Big Brother debuted on the continent in 2003 and has piqued the interest of African audiences ever since.
Seasons one through three featured twelve finalists representing twelve countries. The fourth season (BBA Revolution) featured 25 housemates from 14 different African nations, including Mozambique and Ethiopia; this was the first season with 14 countries, while season five (All Stars) featured fourteen former BBA contestants. Season six (BBA Amplified) features 26 housemates from 14 nations.
Season seven (BBA Star Game), the cash prize was increased to $300,000, 35 players formed 14 pairs known as BBFs (Big Brother Friends), and seven VIP celebrity roommates from 14 nations. Season eight (BBA the Chase) features 28 housemates and a $300,000 cash prize.
The current one, the Ninth Season of Big Brother Africa Hotshots, is the focus of this study. This year’s open auditions took conducted in the same 14 nations as the previous season (The Chase), with the exception of Angola, which was replaced by newcomers Rwanda.
Although Angola is the only one of the original 12 countries that did not participate, Dstv debuted a local Angolan Portuguese version, Big Brother Angola, this year.
Additional auditions were done in Mozambique, so viewers should expect some extra surprises this season. Season 3 production halted due to a fire in the Big Brother home in Highlands North, Johannesburg.
Fortunately, no one was wounded in the fire, which has no known cause. Season 9 debuted on October 5th, 2014, with 26 competitors. The programme started with more swag, introducing the most dynamic and skilled roommates the show has ever had.
The number of cameras was raised to fifty-four, with one hundred and twenty microphones. BBA, like all other Big Brother formats, has faced criticism for concerns such as sex, nudity, violence, cheating, and voting injustice.
www.bigbrotherafrica.com.
The BBA programme, on the other hand, has been commended for fostering new connections amongst previously unconnected individuals (vanZoonen & Aslama, 2006).
Bignell (2005) further contends that the appeal of BBA stems from its representation of an African-originated programme whose aim differs from the normal wars and natural disasters featured in European news agendas.
Big Brother has received a lot of scholarly attention. vanZoonen and Aslama (2006) examined the history of Big Brother, which will be covered in detail in Chapter 2 of this paper.
According to Roscoe (2001), Big Brother is built on performance since cameras force players to perform for both the audience and the other housemates in order to avoid being nominated.
Roscoe also demonstrates how Big Brother believes its audience to be extremely media literate, and teenagers and youths (young adults) appear to suit this profile.
However, the study looked at how a controversial reality television show like Big Brother Africa influenced young people’s behaviours, both favourably and adversely, as well as how it contributed to their academic and sociocultural values. The study used Afe Babalola University students who watch the reality show extensively each season to acquire data for the study.
1.2 Statement of the Problem
As the dominant force in television entertainment, reality TV shows are thought to be less expensive to create and generate more audiences than traditional shows. However, it appears that some of these shows have little to do with reality.
The fact is that reality television has both bad and good effects on viewers and participants. Reality shows, including Big Brother, can have detrimental impacts despite giving the sense of being unscripted and authentic.
However, the truth is far less glamorous: most reality shows are heavily produced and controlled. Stories and scenarios are created in advance. The show is known for highlighting meanness, greed, dishonesty, airing of housemates’ shower moments, and other unpleasant personality flaws on competing platforms.
Based on this, the study investigates whether the Big Brother Africa reality TV show influences the social behaviour of teenagers, with Afe Babalola University students serving as study participants.
1.3 Goal of the Study
The purpose of this study was to look at the impact of the reality television show Big Brother Africa on young people, namely students at Afe Babalola University in Ado-Ekiti. The aims are to establish whether and to what extent Afe Babalola University students watch the reality show Big Brother Africa.
ii. Determine whether and to what extent the Big Brother Africa TV show has influenced Afe Babalola pupils’ academic and socio-cultural values.
iii. Determine whether the Big Brother Africa reality game show has an impact on the social behaviour of Afe Babalola students and to what extent.
1.4 Research Questions.
i. Do Afe Babalola University students watch Big Brother Africa, and what is their viewership?
ii. Has the Big Brother reality programme influenced the academic and socio-cultural values of Afe Babalola University students, and to what extent?
iii. Does the reality show Big Brother Africa impact Afe Babalola University students’ behaviour, and if so, to what extent?
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1.5 Research Hypothesis
H0 – The reality television show Big Brother Africa has a tremendous influence on Nigerian teenagers.
H1 – Big Brother Africa reality television show has no substantial influence on Nigerian youngsters.
1.6 Significance of the Study
As previously discussed, reality television has emerged as a major rival to traditional programming in the television arena. This is obvious in the numerous reality series broadcast on Digital satellite television (Dstv), including Survivor, The Amazing Race, The Apprentice, On Site, and Pop Idols.
The fact that these shows are broadcast during prime time adds to the significance and popularity of reality television. Not only is the genre popular among its target audience, but low production costs have made reality television the preferred genre for production firms and broadcasters alike.
The study’s findings will serve as a foundation for future research on the effects of reality television programmes or viewership on Nigerian society, particularly among youngsters.
Although little research has been conducted on the impact of Big Brother Africa on Nigerian adolescents, this paper provides an up-to-date empirical analysis of the aforementioned, using Afe Babalola University students as samples for generalisation.
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