Acts of translation young people, american teen dramas, and australian television 1992 2004

Acts of Translation: Young People, American Teen Dramas, and Australian Television 1992 – 2004 Joshua Benjamin Green Bachelor of Arts (Media Studies) QUT, Honours Creative Industries Research and Applications Centre Queensland University of Technology Doctor of Philosophy 2005 Key Words Teen Dramas Dawson’s Creek Heartbreak High American Television Programs Television Scheduling Youth Australian Television Broadcasting Network Ten Yuri Lotman Translation Semiosphere Televisuality Narrative Transparency Abstract The thesis examines American teen dramas on Australian television in the period 1992 to 2004 It explores the use of the genre by broadcasters and its uptake by teenagers in an environment where American popular culture has frequently been treated with suspicion and where there are perennial arguments about the Americanisation of youth and their vulnerability to cultural imperialism The thesis argues concerns about Americanisation and cultural imperialism in relation to youth culture, young people and the media are misplaced American teen dramas are investigated as an example of the ways imported programs are made to cohere with national logics within the Australian mediasphere (Hartley, 1996) Utilising Yuri Lotman’s (1990) theory of cultural ‘translation’ this thesis argues teen drams are evidence of dynamic change within the system of television and that this change does not result in a system dominated by imported product, but rather a system that situates foreign programming amongst domestic frames of reference Table of Contents Introduction: American Teen Dramas and the Trouble of Cultural Change The Teen Drama Televisuality Network Ten 12 Americanisation 13 Young People 14 The Semiosphere and Translation 16 Research Method 22 Design of Study 25 Transparent Texts 27 Broadcast Institutions 31 Teenage Viewers 37 Chapter Outline 40 Chapter One: Youth, Media and Americanisation 43 Introduction 43 Brainwashed by Americanisms 45 Australian Experiences of Americanisation 51 The Youth Market 56 Examining American Media Flows 60 Yuri Lotman, Translation and the Semiosphere 71 The Semiosphere as a Model for Meaning Systems 77 Youth as a Site for Translation 82 Conclusion 86 Chapter Two: Narrative Transparency and the Form of Teen Drama 88 Introduction 88 Narrative Transparency and Mythotypic Texts 89 Narrative Transparency and the Teen Drama 98 Dawson’s Creek as Narratively Transparent 101 Narrative Transparency and International Success 124 Heartbreak High: Narrative Transparency and National Specificity 125 Complementary Narratives about Youth 140 Textuality, Broadcasters and Translation 146 Chapter Three: Network Ten and the creation of a youth broadcaster 148 Introduction 148 Network Ten: Branding (for) Youth 151 Industrial Crisis and Target Markets 155 Programming for “youth” 158 i Ten’s Programming Strategies .160 Scheduling for Youth – Counter Programming 168 A Space for Youth: Buffy vs Dawson’s Creek 176 Counter Programming: Industrial Discourse as Techniques of Uptake 181 Continuity Material and Channel Branding 183 Imagining the Medium, Imagining the Nation 187 Ten as Youth Space: Essence, Location, Community .191 Privileging Images of Youth as Fun .205 Conclusion: Ten as a Translative Site 208 Chapter Four: Americanisation and the Translative Audience 213 Introduction 213 Focus group participants .214 Groups 219 Rationale 225 Factors Shaping Engagement: Realness, Cultural Distance and Genre 229 Dawson’s Creek: Male Viewers .232 Dawson’s Creek: Female Viewers 238 Heartbreak High 244 Aspirational Viewing and Cultural Sophistication .249 Conclusion 263 Conclusion: Translation, National Broadcasting and ‘Foreign’ Texts .265 Translation, Narrative Transparency and the Broadcast System 265 Broadcast Systems, Televisuality, and the Australian Television Aesthetic 268 Network Ten and the Creation of a Youth Space 271 Americanisation as a Practice of Narrative Accrual .273 National Television in a Post-Broadcast Environment 278 Appendix I: Timeline of Youth Dramas in Australia 282 Appendix II: Part Transcription of Heartbreak High, Episode #192 284 Appendix III: Transcript of “Yellow” Ident, Network Ten - 2002 .290 Appendix IV: Transcript of “The O.C.” Ident, Network Ten - 2004 293 Bibliography 294 ii Tables and Figures Table 1.1: Binary Conceptions I Table 1.2: Binary Conceptions II Table 1.3: Binary Conceptions III Table 2.1: Comparing the Narrative Transparency of Dawson's Creek and Heartbreak High Table 2.2: Representations of Youthfulness, Comparing Heartbreak High and Dawson’s Creek Table 3.1: Most Important Categories of Programming – 5pm to Midnight Table 3.2: Share Figures (%) Friday, November 29 1991, Brisbane Market Table 3.3: Share Figures (%) Friday, November 27 1992, Brisbane Market Table 3.4: Prime Time Schedule (6-10:30pm) Thursday, May 17 2001 Table 3.5: Ratings Figures 7pm, Thursday, May 17 2001, Brisbane Market Table 3.6: Ten's Idents 1996-2004 Table 3.7: "Give Me Ten" Idents Table 4.1: Group Breakdown by School and Gender Table 5.1: Binaries of Youth and Cultural Identity 47 60 83 100 161 170 171 173 174 191 193 215 277 Figure 2.1: Heartbreak High Character Timelines Figure 3.1: Share Figures (%) Comparison, 1991 & 1992, Brisbane Market Figure 3.2: Ten Logo as Window to Youth Culture Figure 3.3: The Ten Logo as Pushbuttons Figure 3.4: Bert's Bubble (A) Figure 3.5: Bert's Bubble (B) Figure 3.6: Bert's Bubble (C), Seriously Figure 3.7: Clapper - 19.4 Sec Figure 3.8: Kissing - 19.5 Sec Figure 3.9: Kissing Through Frame - 19.6 Sec Figure 3.10: Watching Through Frame - 20.2 Sec Figure 3.11: "Summer Of Love" Figure 3.12: "All I Need Is You" Figure 3.13: "Summer Of Love" Figure 3.14: "All I Need Is You" Figure 3.15: The O.C is Coming Figure 3.16: To Ten Figure 3.17: Teen Drama History Figure 3.18: Soon to Tuesdays Figure 3.19: New but Old Drama Figure 3.20: The O.C will be Here Soon 137 171 196 197 199 199 199 200 200 200 200 202 202 204 204 207 207 207 207 207 207 141 iii Statement of Original Authorship The work contained in this thesis has not been previously submitted for a degree or diploma at any other higher education institutions To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made Signature: _ Date: iv Acknowledgements I would like to thank my supervisors, Professor John Hartley and Dr Jason Sternberg Without their various help this project would not have been completed I owe them both a debt that I will try and work out how to repay This thesis would not be what it is without the assistance of the students and staff at Centenary State High, St Edmund’s College, St Mary’s College, Kenmore State High and Woodcrest College Thanks also go to those at the Seven Network, the ABC, Network Ten, Channel [V] and Fox8 for their insights into Australian broadcasting Thank you to everyone at CIRAC and Media & Comm who sat down for a chat, helped me along or generally put up with me pfaffing about, especially Callum and Phil, whose general musings and odd beers helped heaps To Lloydie, Adam, Swano, Rosie, Lucas, Jo, Sugar, Cath, Kirsty, Marcus, Lucy, Tanya and Jean – thanks for taking me out, hearing me out and knocking me down when needed Oh and thanks for giving me a room Sugar To Mum and Dad, Big Zig and Emmie Green, thanks for just being there I’d be a mess without a family like you Final thanks go to Melissa Gregg, who gave me a shove late in the game that still means a lot to me v Introduction: American Teen Dramas and the Trouble of Cultural Change This thesis examines American teen dramas on Australian television in the period 1992-2004 It examines the teen drama as a significant development in television itself and reflects upon the ascendant status of American1 drama programming in Australia It explores the use of the genre by broadcasters and its uptake by teenagers in an environment where American popular culture has frequently been treated with suspicion and where there are perennial arguments about the ‘Americanisation’ of youth and their vulnerability to cultural imperialism The thesis attempts to unravel some of the industrial and textual characteristics of a genre exemplified by programs such as Beverly Hills, 90210 (1990-2000), Dawson’s Creek (1998-2003), and Buffy the Vampire Slayer (1997-2003)2 Youth television is inextricably linked to the emergence of the teenager and the development of the youth market (Hall and Whannel, 1994; Davis and Dickinson, 2004); it is emblematic of changes in television’s mode of production and distribution throughout the 1990s The teen drama demonstrates the legacy of the changes in television programming Caldwell (1995) refers to as “televisuality”, giving primacy to style as a way of reinvigorating broadcast television, and the rise niche audience appeal (Rogers et al., 2002) In the Australian mediasphere, teen dramas have formed a key component of the strategy Network Ten mobilised to gain a foothold in Throughout this manuscript the terms “America” and “American” are used to refer specifically to the United States of America Where possible, the dates indicated refer to the period the program screened on Australian television Due to the difficulties of accessing accurate broadcast schedules this is not always possible Included as Appendix I is a timeline indicating the teen dramas screened on Australian television throughout the 1990s This timeline also includes other pertinent related programs such as Melrose Place and The Secret Life of Us, which while not teen dramas, can be considered under the rubric of youth programming It also recounts the nationalisation of Triple J, a significant event in the development of a youth cultural space in Australia and considered in chapter three Eastman, S T and Newton, G D (1999) "Hitting Promotion Hard: A Network Response to Channel Surfing and New Competition", Journal of Applied Communication Research, vol.27, pp 73-85 Ebenkamp, B (1999) "Tipping the Balance (the Generation Y demographic)", Adweek, vol.40, no.19, pp Eco, U (1979) The Role of the Reader, Bloomington: Indiana University Press Eco, U (1980) "Towards a Semiotic Inquiry into the Television Message [1972]", in Corner, J and Haawthorn, J (ed.) 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