Why do people watch television shows illegally, and how do we identify them as an audience?
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Transcript of Why do people watch television shows illegally, and how do we identify them as an audience?
Brittany Nelson | 11402835
An investigation into television audiences and their use of traditional and non-traditional means of accessing
content.
Why do people watch television shows illegally, and how do we
identify them as an audience?
2013
An investigation into television audiences and their use of traditional and non-traditional
means of accessing content.
11402839
Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
1 | A s s e s s m e n t T h r e e
Contents
Introduction ............................................................................................................................................ 2
Theoretical Approach .............................................................................................................................. 4
Uses and Gratifications Theory and the Active Audience ................................................................... 4
Media Convergence ............................................................................................................................ 5
Literature Review .................................................................................................................................... 6
Methodology ........................................................................................................................................... 9
Results ................................................................................................................................................. 9
Demographic ..................................................................................................................................... 10
Ethical Considerations ........................................................................................................................... 14
Future Research Plan ............................................................................................................................ 16
Content Analysis ............................................................................................................................... 16
Further Literature Review ................................................................................................................. 16
Case Study ......................................................................................................................................... 16
References ............................................................................................................................................ 17
11402839
Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
2 | A s s e s s m e n t T h r e e
Introduction
Why do people watch television shows illegally, and how do we identify them as an
audience? An investigation into television audiences and their use of traditional
and non-traditional means of accessing content.
Television has traditionally been perceived as a passive pastime, where its audiences’ ‘consume
large quantities of television pabulum in an unstructured and habitual fashion’ (Costello and
Moore, 2007, p.130). As technology has developed and become an inherent aspect of the social
experience, audiences of television have become much more active participants in the medium.
Active viewers of television shows are those who have ‘a motivation to seek out online resources
related to the viewing of a favourite program’ (Costello and Moore, 2007, p.127). For the
purposes of my research, I will be analysing online communities who have taken the relationship
between the television experience and the internet to the next level, by actively changing the
method by which they consume the content.
The development of the internet, and its subsidiaries of user generated content and file sharing
have allowed for a new era of media convergence where the viewer has unprecedented control.
These new technologies and communities have brought with them a demand for a higher quality
of content as consumers begin to undertake a ‘television diet’ (Costello and Moore, 2007,
p.130). The merging of television and internet has completely changed how and why we access
this content. ‘File-sharing of TV content is one of the many developments in our era of media
convergence, prompting a renewal of television’s place in the popular imagination’ (Newman,
2011, p.464).
The research in this paper will focus on the shift of the method of viewing television content,
specifically analysing the online communities who do so. The implications of downloading and
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Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
3 | A s s e s s m e n t T h r e e
streaming shows will be assessed, as well as the disadvantages faced by these communities as
the television business model struggles to keep up in this new age of media convergence.
11402839
Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
4 | A s s e s s m e n t T h r e e
Theoretical Approach
Uses and Gratifications Theory and the Active Audience
From the literature review and primary methodologies conducted in the initial research, several
main theories stand out which would guide the path of an honours project. The first, and most
significant is the uses and gratifications theory. According to Garcia and Gaona, ‘there is no
doubt that typologies of uses and gratifications provide us with an initial reference on which to
conduct empirical studies which bring us closer to the uses and reasons for use of
communication media’ (Garcia and Gaona, 2012, p.232).
Through uses and gratifications theory, it is possible to observe the online television community
as an ‘active audience’, and it is this aspect of the theory which will constitute the main focus of
the research project. The active audience theory was developed by Hall as an extension of his
encoding / decoding theory (Long and Wall, 2009, p.246).It is often analysed in its relation to
uses and gratifications. Blumer defines an active television audience member by several specific
defining activities.
‘A person might be regarded as more active in advance of exposure if he consults
information about what is available; or plans when and what media fare will be consumed; or
has a clear prior expectation of what he can get out of patronising some medium; or can specify
the criteria of what counts as superior specimens of materials that interest him.’ (Blumer, 1979,
p.14).
Seaman (1992) more specifically interprets active audience theory in relation to the television
audience.
‘Active audience theorists argue that a radical reassessment of viewer practices is warranted by
their findings and that would be critics of the media industries need to recognise that television
audiences hold far greater power over the medium than ever before.’ (Seaman, 1992, p.301)
11402839
Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
5 | A s s e s s m e n t T h r e e
Media Convergence
I will also be applying elements of the theory of media convergence to my research project.
Jenkins defines convergence as ‘the flow of content across multiple media platforms, the
cooperation between multiple media industries, and the migratory behaviour of media
audiences’ (Jenkins, 2006, p.2).
This theory directly applies to consumer demand and the need for a new television business
model to successfully respond to it. Video content is now accessible on iPads, laptops, mobile
phones, and via gaming consoles, and Australians watch 104 hours of video content online a
month (Nielsen, 2012, p.2).
Spigel (2009) notes this new relationship between television and media convergence in her
research into Youtube. ‘What is new is the convergence between TV and the proliferating media
platforms through which (among other things) TV criticism is now produced, distributed, and
received’ (Spigel, p.151, 2009).
11402839
Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
6 | A s s e s s m e n t T h r e e
Literature Review
The pilot research undertaken concluded that there does not appear to be a large amount of
literature which is relevant to the research question. The most relevant literature found was in
relation to the theoretical approach which would be applied to an honours project. Literature by
specific theorists of uses and gratifications theory and media convergence proved useful in
developing a theoretical background for the topic.
Research relating to the methods in which audiences consume television content in the digital
age appeared to be minimal. However, several academics touched on the subject and provided
useful insights into the ‘active audience’, their attitudes, and their actions.
Costello and Moore (2007) extensively discuss the idea of the active television audience in
relation to online fan communities. They enter the discussion of uses and gratifications theory in
relation to the online presence on television by asking, ‘are viewers or listeners capable of
making their own meaning out of message content or are they merely helpless victims of media
producers?’ (Costello and Moore, 2007, p.125). The authors conducted a survey of members of
this community, and how they feel their involvement differs from ‘the stereotypical couch potato
with remote control in hand’ (Costello and Moore, 2007, p.131). This acknowledgment of their
need to gratify their experience with a more involved relationship with television finds parallels
within the topic explored by this article. Online torrenting and streaming communities are
dissatisfied with the traditional television viewing method presented to them, and believe that by
actively seeking these shows, they appreciate them on a higher level than the casual viewer.
They, like the online fan communities, are ‘cultural outlaws’, who are ‘not satisfied with their
assigned role: merely to watch the series’ (Costello and Moore, p.141, 2007), and comprehend
the possibilities of engaging with content in the realm of digital media convergence.
Similarly, Benecchi and Colapinto’s (2011) research analyses the online television fan
community, however their research is conducted in the much more recent sphere of social
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Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
7 | A s s e s s m e n t T h r e e
networking. Their research shows that television producers acknowledge the shift towards an
active audience by their endeavours to take advantage of consumers. While television producers
are seemingly unwilling to give the active audience what they want in relation to how they
consume television at this stage, they do partake in profiting off how online communities
appreciate television.
‘These fans are already proactively searching for information about the TV show they loved;
therefore TV producers can exploit this behaviour.’ (Benecchi and Colapinto, 2011, p.443).
Their research found that television producers must modernise their business model if they want
to maintain a fan base and source of revenue. The authors conclude that ‘these new forms of
audience participation are seen valuable, renegotiating the social contract between media
producers and consumers in a way which may be seen as legitimate and mutually rewarding to
all involved.’ Benecchi and Colapinto, 2011, p.443). This attitude supports the findings of my
primary research, explored later in this pilot study.
Cha and Chan-Olmsted (2012) analyse the ‘cannibalistic’ (Cha and Chan-Olmsted, 2012, p.261)
nature of the internet and its aggressive role in digital media convergence. The authors attempt
to answer the question, ‘what specific motivations for watching video content affect consumers’
perceived substitutability between online video platforms and television?’ (Cha and Chan-
Olmsted, 2012, p.264). They note its difference from past new media which have been able to
continue their existence alongside the old, for example radio and print. The authors focus on the
fast pace of digital technology, emphasising that while our populace are able to utilise the
technology efficiently, the industry is failing to maintain its dominance in accessibility.
Contrastingly, Siapera (2004) states that ‘television... has merely expanded online’ (Siapera,
2004, p.155). Presenting an opposing view to Cha and Chan-Olmsted, she maintains that the
internet phenomenon will not drastically affect the television industry. ‘The new media rhetoric,
with its emphasis on radical breaks from old media, often masks the degree to which continuity
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Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
8 | A s s e s s m e n t T h r e e
goes hand in hand with change’ (Siapera, 2004, p.158). The research intention was to ‘trace the
continuities and changes in the ways in which television understands and constructs its
audiences in its online modes of existence’ (Siapera, 2004, p.167). The author’s views may have
been more relevant in the context of her article’s publication nearly a decade ago, and the more
recent articles discussed here demonstrate a more modern approach to active audience theory.
Leavitt (2011) ‘aims to address the expressive and participatory practices of online television
audiences’ (Leavitt, 2011, p.3) in his recent research. By investigating social media practices,
fan communities, and television consumption, Leavitt is able to provide a comprehensive
examination of the relationship between the internet and its active television audiences. The
author concludes his research by offering a solution to the issue faced by the television industry.
‘Streamlined experiences and broad access to content will be honoured (sic) with greater
loyalty to shows and brands, while also rewarding the television industry with greater and more
detailed insights into consumer participation and practices’ (Leavitt, 2011, p.12).
While a vast range of literature currently exists on media convergence, the relationship between
old and new media, and television in general, it has proven difficult to locate any research
explicitly relevant to torrenting and online streaming practices. While this could be considered an
obstacle in creating a comprehensive research project, it introduces an opportunity in regards to
primary methodology. Being able to control the direction and applying relevant theory to raw data
will prove extremely beneficial for the purposes of this project.
11402839
Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
9 | A s s e s s m e n t T h r e e
Methodology
The primary methodology that has been undertaken in this research is survey. This specific
methodology was chosen for two key reasons:
1. The topic which is being researched is extremely new. The technology required to watch
television online, and the accessibility of these shows, is constantly changing. It was
therefore crucial to conduct extensive primary research in order to extensively address
the research question and come to an educated conclusion.
2. The literature that is available rarely focuses on the audience, instead often focusing on
television producers, or on the technology which is used to access it (Benecchi and
Colapinto, 2011; Keesan, 2008). The aspect of this topic which was of particular interest
was the audience: who they are, and why they consume television content in the way that
they do. To best assess this, it was decided to go directly to the audience, and to ask
them specific questions which have not been approached in other research.
Therefore, for the purposes of this research, a survey was created consisting of fifteen questions,
which ran from 14th April, 2013 to 21st May, 2013. The survey was deployed on a variety of
websites, including forums dedicated to television shows, torrenting and streaming services on
Reddit. It was also linked on a variety of private and public torrent websites, where its members
were active with the specific purpose of downloading television shows. These websites included
Isohunt, The Empire, Scenetime, and Torrent Day.
Results
The results of this survey provided detailed insights into how the active audience operates in the
age of digital media convergence. The respondents provided extensive information about their
viewing habits, online presence, and proposed changes to the television industry. Approximately
20% supplied detailed comments, even when not asked.
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Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
10 | A s s e s s m e n t T h r e e
Demographic
The survey received 1006 responses over the five weeks it was live, and its respondents’ were
categorised demographically into age, gender, and location.
Figure 1
The survey observed an extremely geologically widespread response base. Responses were
obtained most often from participants in Australia, New Zealand, the United States, the United
Kingdom and Canada. 581 of these respondents were from Australia. This is due both to my
location, and the issue being researched affecting Australians at a higher rate that other
countries due to the legalities of syndication affecting international show availability.
‘P2P [peer to peer] TV usage is especially prevalent in countries where access to American
shows is limited by windowing and geo-blocking, especially in English-speaking countries such as
the United Kingdom, Canada, and Australia.’ (Newman, 2012, p.471)
Interestingly, while women are regarded as the dominant viewers of television (Stanley and
Niemi, 1998, p.56). 86% of respondents identified themselves as male. This is possibly due to
male television audiences accessing their content differently than females, rather than males
watching television at a higher rate than expected.
11402839
Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
11 | A s s e s s m e n t T h r e e
In the preliminary survey, an error was made which was overlooked before the survey was
finalised and sent out. As you will see in Figure 2, the age categories overlap. However, I don’t
believe this greatly affected my results. The majority of survey respondents were aged between
18-24, with those aged 24-30 following. This reflects internet usage with this level of
technological skill among casual users (Nielsen, 2012, p.1).
Figure 2
A huge 40% of survey respondents were aged between eighteen and twenty-four years old, with a
further 26% between the ages of twenty-four and thirty. This shows accessing television through
online means as a new phenomenon which is preferred by ‘techno-babies’ – those who grew up
surrounded by television. While the concept of the active audience is not new, this particular
means of being an active audience is.
When beginning this pilot study, it was important to consider any possible assumptions about the
research area, or survey respondents before commencing. My main assumption, and a common
perception from many stakeholders, was that the torrenting community download shows because
they don’t have to pay. This concern was addressed by asking this of the survey respondents
quite directly in several targeted questions.
11402839
Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
12 | A s s e s s m e n t T h r e e
Figure 3
45% of respondents stated that they downloaded shows because there are no advertisements,
and a resounding 62% of the same group also stated that they don’t want to pay for them. While
this could confirm the assumption that ‘free is key’ (Keesan, 2008, p.362), further research
shows that this sample are willing to pay for an updated model that takes the active audience
and media convergence into account. The importance of the aspect of media convergence in the
modern television experience is clearly displayed with 86% of respondents stating that they
watch shows ‘when and where I want’.
198 respondents took the time to provide detailed information regarding their viewing habits.
Many comments clearly demonstrated the collective opinion that the traditional television
business model must be updated to account for media convergence and technological advances.
“I would gladly rent or purchase new episodes if companies made them available.”
“I can’t find them legally streaming in good quality.”
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Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
13 | A s s e s s m e n t T h r e e
“I would be happy to pay for one channel, but obligatory cable packages are too expensive.
(Looking at you, HBO.)”
Figure 4
These responses again show that these online communities are not the average ‘couch potato’
(Costello and Moore, 2007, p.131), they are an active audience who are specifically seeking out
this form of entertainment. They commonly share this desire to find a solution to this out-dated
business model, rather than to passively watch television and not contribute to the process.
11402839
Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
14 | A s s e s s m e n t T h r e e
Ethical Considerations
‘Ethical considerations guide our integrity as researchers in formulating research as well as its
reception... ethical principles impact on our relationship with our subjects of research...’ (Long
and Wall, 2009, p.269)
The ethical considerations for this research are minimal; however several elements of the
research must be addressed. Initially, it was important to ensure that participants under the age
of sixteen did not participate, due to lack of a simple method of gaining parental consent. It was
not necessary that my research included responses from this demographic, nor from the age
bracket of 16-17 years, and thus the lowest age one could select to take part in the survey is
eighteen.
According to the UK’s Economic and Social Research Council (ESRC), researchers should ensure
that ‘subjects [are] fully informed about the purpose, methods and intended possible uses of the
research’ (Long and Wall, 2009, p.270). It was important to disclose the purpose of the survey,
the university in which the research was being undertaken, and the fact that responses are
anonymous at the beginning of the survey. This was particularly essential in relation to this
particular survey, as some of the questions asked participants of their online viewing habits,
including illegal methods. Because of this, it was vital that concerned respondents could verify
my identity and the purpose of my research if necessary. These actions show my commitment to
the ESRC’s standards, particularly that the ‘confidentiality of information supplied by research
subjects and the anonymity of the subjects [is] respected’ (Long and Wall, 2009, p.270).
The fact that some responses may include information about the respondent’s torrenting habits,
which in some cases is technically illegal, was extremely important to consider. However,
respondents were made aware that they only needed to disclose what they were comfortable
with, ‘participating in a voluntary way, free from any coercion’ (Long and Wall, 2009, p.270).
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Audiences, Users, Publics, Communities
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15 | A s s e s s m e n t T h r e e
Most were completing the survey with the intention of explaining their actions, and hoping to
move towards a legal solution to updating the television business model.
11402839
Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
16 | A s s e s s m e n t T h r e e
Future Research Plan
Several key steps would be taken if this research were to be continued beyond this pilot study.
Content Analysis
The survey results received for this pilot studies are deemed to comprise of an extensive and
valid sample. Therefore, if this were to be continued into an honours project, a second primary
methodology would be undertaken. I propose content analysis as an effective research tool for
this particular topic. By analysing data such as Netflix subscription figures, number of torrents
downloaded, Neilsen ratings and network revenue, a comprehensive snapshot of the current
state of the television industry can be perceived.
Further Literature Review
As this issue becomes more prevalent, it is possible that academics will publish further literature
on this subject. If that were to occur, it could be very useful in supporting the findings made in
this pilot study and an honours project.
Case Study
Several television shows and new television models could be analysed very successfully in order
to demonstrate the active audience and media convergence in relation to television. Specifically,
television shows such as HBO’s Game of Thrones and Fox’s Arrested Development could be
examined as examples of how active online communities have contributed to a show’s fate.
Online streaming services, such as Netflix, can demonstrate new television business models with
potential for success in the age of media convergence.
11402839
Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
17 | A s s e s s m e n t T h r e e
References
Benecchi E., Colapinto C., 2011. ‘21th Century: TV series go beyond the screens’. M.A. Pérez-
Gómez, Previously on. Interdisciplinary studies on TV Series in the Third Golden Age of Television,
pp. 433-446. Italy.
Blumer, J., 1979. ‘The Role of Theory in Uses and Gratifications Studies’. Communication
Research, 6:9, pp. 9-36.
Cha, J. and Chan-Olmsted, S., 2012. ‘Substitutability between Online Video Platforms and
Television’. Journalism and Mass Communication Quarterly, 89:261. pp. 261-278. Sage
Publications.
Costello, V. and Moore, B., 2007. ‘Cultural Outlaws: An Examination of Audience Activity and
Online Television Fandom’. Television and New Media, 8:124. pp. 124-144.
Garcia, A., and Gaona, C., 2012. ‘A vision of uses and gratifications applied to the study of
Internet use by adolescents’. Communicacion Y Sociedad, 25:2, pp. 231-254.
Keesan, J., 2008. ‘Let it be? The challenges of using old definitions for online music practices’.
Berkeley Technology Law Journal, 23:1, pp. 353-372.
Jenkins, H., 2006. Convergence Culture: Where Old and New Media Collide. New York University
Press, New York.
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Brittany Nelson
Audiences, Users, Publics, Communities
Tutorial Three: Belinda Middleweek
18 | A s s e s s m e n t T h r e e
Leavitt, A., 2011. ‘Watching with the World - Television Audiences and Online Social Networks’.
2010/2011 C3 Research Memos and White Paper Series. Published online at
http://www.convergenceculture.org/research/c3-watchingworld-full.pdf Viewed April 28th 2013.
Long, P., and Wall, T., et al. 2009. Media Studies: Texts, Production, and Contexts. 1st edition.
Harlow, England.
Newman, M., 2012. ‘Free TV: File Sharing and the Value of Television’. Television New Media,
13:6, pp. 463-479. Sage Publications.
Nielsen Company, 2012. ‘Australian Multi Screen Report: Second Quarter, 2012.’ Online,
available at
http://www.nielsen.com/content/dam/corporate/au/en/reports/2013/6045_Multi_Screen_Rep
ort_Q4_2012_Final.PDF, viewed May 28th 2013.
Seaman, W., 1992. ‘Active audience theory: pointless populism’. Media Culture Society, 14:2, pp.
301-311.
Siapera, E., 2004. ‘From couch potatoes to cybernauts? The expanding notion of the audience on
TV channels’ websites’. New Media Society, 6:155. pp. 155-172. Sage Publications.
Spigel, L., 2009. ‘My TV Studies… now playing on a Youtube site near you’. Television New Media,
10:1, pp. 149-153. Sage Publications.
Stanley, H., and Niemi, R., 1998. Vital Statistics on American Politics, 1997-1998. Congressional
Quartlerly Press, Washington, D.C.