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Beyond Ratings or Quality. Surpassing the Dilemma of Entertainment in Public Broadcasting
Unformatted Document Text:  21 Table 2. Pluralist quality of entertainment in (public) broadcasting Audience group Vocabulary Citizen ‘Enjoyer’ Consumer (Advertiser) Artist vocabulary - Does the program provide viewers insight in own expectations? - Does the genre uncover conventions? - Does it lead to ironic understanding: is audience aware of subjectivity and limitations of own understanding? - Does the program touch a nerve in viewers? - Is it adventurous and titillating? - Does it leave room for magic? - Does it play with genre conventions? - Is it innovative? - Does the program, because of its high profile, increase the product’s familiarity with viewers? Artisan vocabulary - Does it make viewers aware? - Does it arouse viewers’ curiosity? - Does it stimulate a critical attitude? - Does it raise viewers’ eagerness to watch? - Does the taste community appreciate the program? - Is the program’s narrative appealing and exciting? - Does it evoke emotions? - Does it activate people’s eagerness to buy products? - Is it persuasive? - Does it challenge viewers to fashion their identity through consumption or to long for a youthful image? Teacher vocabulary - Does the program communicate certain norms and values? - Does it say more about how society works? - Does it raise viewers’ involvement in social issues? - Does it offer a balanced combination of pleasure and instruction? - Is the audience offered opportunities to discover or experience something new? - Does audience finally understand how something works? - Does it cause an aha-experience? - Do (non-spot) commercials and sponsoring lead to changes in attitude/behavior? - Are the pros and cons of certain products, norms, and values well presented? Moderator vocabulary - Does a program lead to discussion about norms and values? - Does it contribute to organizing social coherency? - Does it stimulate the audience to empathize with others? - Does it contribute to a democratic visual culture? - Does it give viewers a feeling of belonging to a larger whole? - Does it provide support to people who are different? - Does it challenge playful individuals? - Does it provide consolation? - Does it link people to new trends and current issues? - Does it represent the good life? - Does it offer real enjoyment? - Does it inspire viewers to change? - Do viewers talk about the advertised products, activities, or identities? - Does the program have a high profile? Marketing Vocabulary - Does the programming reach and matter to everyone? - Do the intended audiences enjoy the program? - How large is market segment (within targeted group) © ASCoR ICM 18-9-02 This table basically brings to light a pluralist quality idiom, which makes it possible to discuss (entertainment) programming in terms of fifteen different dimensions. A major assumption is that a hierarchical relationship between these dimensions is absent. They are functional and may pertain to the same programs, program elements, or program moments. The analysis of our interviews suggested, though, that some

Authors: Meijer, Irene.
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21
Table 2. Pluralist quality of entertainment in (public) broadcasting
Audience
group
Vocabulary
Citizen
‘Enjoyer’
Consumer
(Advertiser)
Artist
vocabulary
-
Does the program provide viewers
insight in own expectations?
-
Does the genre uncover
conventions?
-
Does it lead to ironic
understanding: is audience aware
of subjectivity and limitations of
own understanding?
-
Does the program touch a nerve in
viewers?
-
Is it adventurous and titillating?
-
Does it leave room for magic?
-
Does it play with genre
conventions?
-
Is it innovative?
-
Does the program, because of
its high profile, increase the
product’s familiarity with
viewers?
Artisan
vocabulary
-
Does it make viewers aware?
-
Does it arouse viewers’ curiosity?
-
Does it stimulate a critical attitude?
-
Does it raise viewers’ eagerness
to watch?
-
Does the taste community
appreciate the program?
-
Is the program’s narrative
appealing and exciting?
-
Does it evoke emotions?
-
Does it activate people’s
eagerness to buy products?
-
Is it persuasive?
-
Does it challenge viewers to
fashion their identity through
consumption or to long for a
youthful image?
Teacher
vocabulary
-
Does the program communicate
certain norms and values?
-
Does it say more about how
society works?
-
Does it raise viewers’ involvement
in social issues?
-
Does it offer a balanced
combination of pleasure and
instruction?
-
Is the audience offered
opportunities to discover or
experience something new?
-
Does audience finally understand
how something works?
-
Does it cause an aha-experience?
-
Do (non-spot) commercials
and sponsoring lead to
changes in attitude/behavior?
-
Are the pros and cons of
certain products, norms, and
values well presented?
Moderator
vocabulary
-
Does a program lead to discussion
about norms and values?
-
Does it contribute to organizing
social coherency?
-
Does it stimulate the audience to
empathize with others?
-
Does it contribute to a democratic
visual culture?
-
Does it give viewers a feeling of
belonging to a larger whole?
-
Does it provide support to people
who are different?
-
Does it challenge playful
individuals?
-
Does it provide consolation?
-
Does it link people to new trends
and current issues?
-
Does it represent the good life?
-
Does it offer real enjoyment?
-
Does it inspire viewers to change?
-
Do viewers talk about the
advertised products, activities,
or identities?
-
Does the program have a high
profile?
Marketing
Vocabulary
-
Does the programming reach and
matter to everyone?
-
Do the intended audiences enjoy
the program?
-
How large is market segment
(within targeted group)
© ASCoR ICM 18-9-02
This table basically brings to light a pluralist quality idiom, which makes it possible to
discuss (entertainment) programming in terms of fifteen different dimensions. A major
assumption is that a hierarchical relationship between these dimensions is absent.
They are functional and may pertain to the same programs, program elements, or
program moments. The analysis of our interviews suggested, though, that some


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