عنوان الموضوع : help in the 3rd project of english
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hi please I need your help about the third project of english page 90 please i am in big trouble help me


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Will interactive television change the relationship between the viewer and the television set?
Interactive television is not a new occurrence, but there have been recent advances in television technology that has brought about new developments in the way television is watched and used. ‘There is no widespread agreement on the definition of interactive TV.’ (Sawhney, 2002: p1). Through television’s history there have been different forms of interactive television. In 1953 the children’s television programme Winky Dink and You began a form of interactivity where children use transparent paper to put on the screen and help the shows character by drawing pathways and tools. Teletext is an interactive form of television on which weather reports and news stories can be read. In 1959, NBC’s Today show held the first telephone call in. For much of television’s history viewers have been able to phone in and recently text in to attempt to win prizes, vote in polls and give their opinions. ‘The telephone, in particular, has proved to be a powerful interactive television tool.’ (Dodson, 2001) Sky digital has been the driving force behind recent developments in interactive television, with many channels dedicated solely to interactivity such as Avago where viewers can interact through the TV or phone in order to win prizes.

One popular feature of Sky digital is the interactive service which can be accessed by pressing the red button on the remote. A screen comes up offering a various number of options, such as news features, sports and shopping.

In order to investigate the attitudes of people towards interactive television I used a questionnaire consisting of eight questions, some being for statistics and some for opinions. At the beginning of the questionnaire there is a brief on what interactive television is. The reason I chose the age ranges of 0-25, 26-51 and 52+ was due to the fact that people in the range of 0-25 have grown up with many new technological advancements and are the main target market of digital producers. ‘Children are typically seen to posses a natural wisdom in their relationships with technology that the majority of adults seem to lack’ (Buckingham 2002: p 79). The second range seems to be similar to the first but may have less knowledge of certain aspects of the use of new technologies. The third range are commonly represented as being quite familiar with new technologies such as digital television, video games and computers but are not accustomed to their use.

The results from the questionnaires suggest that there is a high awareness of iTV but not a wide knowledge of how to use it. The answer to question 1 was that out of the 24 people, 20 of them were aware of interactive television and 4 were not. The majority of answers to question 6 stated that their isn’t a wide knowledge of the uses and features of iTV, some answers being ‘I don’t think there are many people that use it and that many of the features go unused’, and ‘there isn’t much use of it. Things on Sky interactive such as shopping aren’t used much because it can be done on the internet.’

The results also show that when people are presented with the notion of interactive television they think of the interactivity available on Sky digital. Over the past few years there has been extensive advertising and hype about Sky digital and its latest form Sky Plus, on which there are many interactive services and features. Sky appears to be the most popular form of digital providers. ‘All the time Sky has a stranglehold on the market’ (New Media Age 2005).

From the 24 who answered the questionnaires, 22 have interactive TV. 10 of these answered that they use iTV often and 12 answered that they don’t use it often. This indicates that’s it is not a very popular medium. The results show that more males use iTV often than females (see figure 1).

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In an article called Difference and Diversity in the journal Media, Culture and Society, Karen Drotner explains some research conducted on young people and their use of media. She states that ‘there are still marked gender differences in the use of computers.’ (Drotner 2000: 154). The research shows that young males spend more than twice the amount of time on computers as young females do; conversely young females spend twice as long reading than young males. Her point is that females are more interested in print media and males more interested in visual media.

Another issue that arises from this question is the use of interactive television by different age groups. The results indicate that more young people use iTV than others. (See figure 2).

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The majority of people who said they use iTV often are in the 0-25 age group. The youth of today are the first to grow up surrounded by the use of advanced computers, and so are accustomed to using new technologies and media. Drotner states that ‘young people may be said to be pioneers of mediated culture: they are in the forefront of exploring new media technologies’ (drotner 2000: 154). Younger age groups are key targets of iTV producers and creators as they will be the future users of iTV and a quantity of which will be involved in further developments in the technologies and forms of iTV. According to Drotner ‘they (young people) are often innovative in developing new forms of reception, just as today an increasing number of them are involved in the making of media.’ (drotner 2000: 154).

What is interesting in the results of the questionnaires is the attitudes towards the usefulness of iTV and the comparison to the internet. Question 3 asks ‘do you think it is useful?’ Many people do believe it is useful (see figure 3).

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When asked ‘In the future do you think it will have as similar impact that the World Wide Web has had and why?’ everyone answered no. Many find that interactive TV can be useful but none believe it will have the same phenomenal status that the internet and World Wide Web has achieved. Many of the answers signify that iTV will always take a ‘back seat’ to the internet. One answer was ‘many of the features of interactive TV can be done through the internet on computers. It’s more convenient to do shopping and other things that way.’ Interactive television appears to be not as user friendly as the World Wide Web. One person said ‘features such as shopping don’t have a wide choice and it’s not as easy to pay for goods through the television.’ In an article written by J. Van Dijk called ‘Searching for the Holy Grail’, he talks about research done by Heuvelman and Peeters into iTV. ‘They found that the more one wasused to working with a computer, the lower the appeal of iTV.’ (van Dijk, J. 2001: 443) This may be due to the ease of using and inputting information into a computer compared to a television.

In his book Seeing Things John Ellis explains his theory on eras of television. There are three, the first being the era of scarcity which was ‘a few channels broadcasting for part of the day only.’ (Ellis 2000: 39). The second is the era of availability, where there is a wide choice of channels with competition between cable and satellite providers. The third is the era of plenty which ‘is confidently predicted by the television industry itself.’ (Ellis 2000: 39). One answer to question 5 is ‘no one I know uses iTV much and no one seems to be interested in it much. Many people do use things like the sky TV guide and the recording on Sky +.’ Ellis says that the third era
‘is foreseen as an era in which television programmes will be accessible through a variety of technologies, the sum of which will give consumers the new phenomenon of television on demand as well as interactive television.’ (Ellis 2000: 39).

Television on demand seems to be very popular among consumers but interactive shopping and other things like it does not. The problem may be that there is too much available as the era of plenty is establishing. ‘The era of plenty is predicted even as most nations and individuals are still coming to terms with the transition to the era of plenty’ (Ellis 2000: 39).

When talking about the first era, Ellis says that ‘many of its social effects have already been alluded to, particularly its powerful effect in the modernization and urbanization of society.’ (Ellis 2000: 45). This is seems to be technologically deterministic. In the view of the technological determinist, ‘technology is seen as the prime mover in history.’ (Chandler 1995). Saying that television had a powerful effect in the modernization and urbanization of society is a fairly strong deterministic stance.

Many answers to question 4 (What features do you use mostly?) included features of Sky digital such as the electronic programme guide and the record feature. These are popular features amid consumers. The element behind the popularity of these functions appears to be choice. Before the electronic programme guide viewers were confined to the schedules that the channels produced. ‘The flexible and adaptable guide is often seen as liberation from the tyranny that the schedules seem to exercise’ (Ellis 2000: 169-70). The choice of what to watch lies with the viewer but what is available to watch still lies with the supplier. ‘With all these opportunities of choice the supplier keeps defining and producing the overwhelming part of all form and *******’ (van Dijk, J. 2001: 443).

Most responses to question 8 (Do you think it will change the relationship between the viewer and the television, and in what ways?) were positive ones stating yes, that they think iTV will change the relationship between the two. The overall attitude that emerges from the answers is that interactive TV will give the viewer more control over watch they watch and that the features such as the electronic television guide will become even more popular and widely used. Features such as online shopping and banking will have to develop in its range and capabilities before it is acknowledged as being useful and worth having. The notion of ‘two way TV’ also emerged in the answers. Many were cynical (notably the younger age group) about iTV being two way. Umberto Eco describes young people through their use of media as ‘belonging to a culture of instinctive semioticians’ (Eco 1986 cited in Drotner 2000: 151) and Nava describes them as ‘discriminating audiences’ whose ‘scepticism’ is ‘a great deal more developed than those of older generations’ (Nava and Nava 1990 cited in Drotner 2000: 151). Yonger people are more adapted to new forms of media and so may be cynical, because they have a fairly wide knowledge of media forms and plenty available.

One definition of ‘two way TV’ is where ‘the viewer can make programming choices and produce user input’ (Jensen and Toscan 1999 cited in van Dijk j. 2001: 443).One person stated that ‘programme choices can be made but you can’t choose what you want to be available’, which is true, so ‘two way TV’ may only be accepted when viewers are able to choose what they want to be available. Viewers are able to produce input through voting polls and shopping, and results and feedback are given, therefore information is passed in both directions.

Is there really a need for it, is an important question concerning interactive television. J. van Dijk in his research into iTV found that ‘communication scientists and television experts are sceptical about the prospects of ITV’ (van Dijk, J. 2001: 443). Many of the features such as the online banking and shopping can be seen as basic versions of what can be done on the internet, which could be why many do not use these features or are not interested in them. The ability to record programmes, use the electronic programme guide and choose what sport event to watch are popular features because they offer wider choice and ease of viewing. It would be of benefit to the iTV providers if they concentrated more in developing these features than the online ones. Offering more choice to viewers increases interest for example, the sports events on BBC digital, where during a rugby match, viewers have the ability to view the game from different angles, see statistics and listen to the referee. During athletics the viewer can choose which event to watch. Giving this amount of control to viewers has proven to be popular and worthwhile.

Overall then, the responses indicate that people do believe interactive television will change the relationship between the viewer and the set. The youngest appear to be the most interested in it and the main users. The features that involve viewing such as the electronic programme guide and interactive sports events are the most used and most popular and it is these which they feel that will change the relationship between viewer and set, where as there is a sense that people have no need for online shopping and banking through their television. Therefore the impression is given that this form of interactive television will continue to ‘take a back seat’ to the World Wide Web. Many are sceptical towards the notion of two way TV including television scientists and experts. There is a lack of knowledge of the use of interactive television, so viewers will not easily adapt to more advanced interactivity. The younger people will become accustomed easier, as Drotner states; ‘young people’ are a ‘highly media literate generation’ (Drotner 2000: 152). Current forms of interactivity are seen as unsatisfactory so in order to invoke more interest the producers will need to improve the online services found on interactive TV. J. van Dijk believes that ‘interactivity has to be learned’ (van Dijk J. 2001: 443), and peoples attitudes are that interactive television will change the relationship between the viewer and the set.

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Differences in the Interpretation of a Commercial

Television has traditionally been used as an advertising medium since its early days. The very development of television in the US was for commercial purposes with the first television commercials broadcast in the late 1940’s, although commercial television would not reach Britain until 1955. Since then the number of commercials broadcast and the number of commercial channels has been on a steady increase (Wikipedia 2004, WWW).

Outside of the cinema, televised commercials are the heaviest impacting form of advertising there is. Businesses have always recognised this and, providing they can afford to and it is appropriate to the product, will choose to promote their product though means of commercials. Such a large quantity of advertisements competing against each other has lead to improved quality of advertisements, each one trying to outdo the other in the hope that they will be the one that the viewer remembers. Doing this has led many advertisers to hire acclaimed film makers to direct and well known faces to appear in their commercials (Wikipedia 2004, WWW). One such example of this is the British Telecom campaign of the early nineties in which Bob Hoskins, under the direction of Hollywood filmmaker Ridley Scott told British Viewers “It’s good to talk”, the company using Hoskins’ hard man persona to their advantage.

The increased importance and emphasis on advertisements has led many companies to be brave and create more ambiguous commercials because most commercials are made to reflect reality and so violating reality is a sure way to attract attention to the advert and therefore the product (Messaris 1997, 5). Such seems to be the case with the Playstation 2 commercials that aired across Europe in 2000. For these, Sony Europe hired cult filmmaker David Lynch to produce for them sixty and thirty second TV spots advertising ‘The Third Place’, a tagline associated with the Playstation 2. The only clue to the product that is really being advertised is the logo for the product which reads, rather enigmatically in an unclear typeface, “PS2”.

Lynch had to his credit such celebrated pictures as Eraserhead (Lynch, 1977), Blue Velvet (Lynch, 1986) and Wild at Heart (Lynch, 1990). His ventures into television had given the world Twin Peaks (1990-1991), arguably one of the most daring and imaginative television series ever made. Since 1988 he had also been directing Television commercials, most of which used his unique style to their advantage. This Playstation 2 commercial has many of the hallmarks of a David Lynch movie, and they are easily recognised within it, most notably Lynch’s fondness for surrealism.
The sixty second version opens with a flame across the screen. The flame disappears and a dark suited man walks forward He walks down a corridor which turns into a forest and back again to a corridor. He looks to one side and through a window he sees a woman flying upwards signalling to him to be quiet. He looks the other way and sees a man who gives him the thumbs up so he returns the gesture. The other man walks away and the suited man looks forward and sees a loud speaker. He turns round and see the word “WHERE” hanging from the ceiling and smoke filling the corridor. Turning back slightly he sees the loud speaker again. Turning back completely he sees nothing but smoke. He moves forward curiously. The suited man stands still but without a head at first but the head is sucked back on and he throws up an arm which disappears. He sees smoke again. He looks down at his arm and finds his hand to be missing with smoke emitting from his forearm. He looks up as the smoke clears to reveal a room with three characters. One is himself who he stares at, the other is someone completely bandaged like a mummy and the last is a human sized duck wearing a black suit similar to the man’s. Two titles follow in quick succession, one reading “PS2” and the other “the third place”.

That description above is founded on my own personal interpretation of what is going on in the commercial: a shot breakdown of the complete advertisement is attached as Appendix 1. I questioned twenty-five individuals on their views of what is happening in it, my question quite openly being “what is going on in the ad?”: a question which generated some very different answers.

Six people expressed feelings that the suited man was a Government agent of some kind. The suit is probably responsible for these reactions as the associations such suits have with secret agents such as James Bond or Federal Agents such as Dale Cooper in Twin Peaks or Fox Mulder in the X-Files will influence the viewer into making that presumption. Several theories about perception highlight the function of sensory data or knowledge in the process of interpretation (Chandler, 1997: WWW). Viewers know that a black suit with a white shirt is the stereotypical uniform for a Federal agent so they are using that knowledge to presume something of his identity.

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Figure 1: The Bright Room (Lynch, 2000)

“It is in a bright room with some men and a duck dressed as a man”. One viewer recalled this account of the end of the advert, shown in Figure 1. She missed out the details of the man seeing himself as one of those men, through either not seeing it or not remembering it. And only two people questioned said that they noticed the arm that had been thrown up next to the three seated men. This relates to Gestalt principles of visual organisation. Most people have sought the dominant shapes of the three men away from the background in accordance with the Gestalt principles (Sukhatme: WWW). But some have viewed differently, seeing the room itself as dominant, perhaps because it is light when most of the rest of the image is dark making it stand out. Or it could relate to the individual context of that particular viewer.

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Figure 2: Man throws up an arm (Lynch, 2000)

“The man threw up” was one account of the man’s throwing up of an arm (shown in Figure 2). This person omitted from their account or did not take in the detail that it was an arm. The selective process which causes some details to be omitted from a person’s recollection of an image is called levelling (Chandler, 1997: WWW). Their mind sees this extra information as irrelevant or insignificant to the overall interpretation, but it might not be irrelevant. The viewer may be missing the importance and significance of the arm, leading to the advert being misinterpreted. It could be that the arm has an association with video gaming so that specific connection with the product being promoted is lessened or lost completely.

To make sure there was a reasonable balance of age groups nine of the people I surveyed were over forty years of age. The answers of four of these people to the question of what is going on in the ad, equated typically to “I couldn’t even hazard a guess”. The interpretations or lack of interpretation by these people may be hindered by historical context of perception. Theorists such as Marshall McLuhan (1962) have argued that over time there has been a change in the way we use and the importance we place on the different senses (Chandler, 1997: WWW). Nowadays people, especially the young, are more reliant on sight than any other sense due to the importance of computers and the increase in literacy. Older viewers may concentrate more on senses other than sight and be better at using those other senses, but because of this their abilities to interpret images will likely be worse than that of a younger person.

[IMG]file:///C:/DOCUME%7E1/Famille/LOCALS%7E1/Temp/msohtml1/01/clip_image006.jpg[/IMG]
Figure 3: Man from the advert (left). Henry from Eraserhead (right)

Historical and socio-cultural context may also be responsible for the differing reactions from different age groups (Chandler, 1997: WWW). In recent years film narrative and style has become much more elaborate and inventive, with surrealism being an especially important part of this. Younger people are today’s movie audience and their familiarity with the styles and conventions of surreal imagery will probably make them better equipped to form an understanding from the clip. David Lynch has long been popular with young film fans and because this commercial is littered with typical Lynch imagery, fans will be able to better construct an idea of images and the narrative. One can clearly see from Figure 3 (above) and Figure 4 (below) how images in the Playstation 2 commercial of the man are almost lifted from David Lynch’s well known works Eraserhead and Twin Peaks. But it is not just similarities of the man: the smoky floor is also iconographical of Eraserhead and the bright yellow room an obvious contrast to Twin Peak’s Red Room. Older viewers who are more likely unfamiliar with these films and television programmes would be unable to recognise these links.

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Figure 4: Man from the Advert (left). FBI Agent Dale Cooper from Twin Peaks (right)

Eight of those twenty-five questioned were familiar with David Lynch and all of those people where able to express an interpretation of the advert. Of the remaining seventeen candidates, six of those where unable to say what happened in the advertisement. From this I think it is fair to assume that watching this with the knowledge of the same kind of production gives the viewer the means to interpret the piece more easily and perhaps form the intended reading.

With the moving image viewers will try to understand the image in respect of a narrative, attempting to make sense of one image in the scheme of a larger construct. Because of this a series of loosely connected images may be interpreted as being related to each other and the viewer may find themselves adjusting their understanding of one moving shot by the presence of the following or the influence of the previous shot. In this particular advertisement some shots like the smoke may not be what the man in the advert is seeing: it may just be flashes forward to the smoke towards the end of the clip when we see the man actually looking at the smoke. If the images are not related in a process of causation, as two people in the survey suggested, the process one would take to try and make sense of the commercial would be very different.

If I were to conduct the survey again I would definitely ask more people as a survey of twenty-five people is not representative enough. Also to produce more meaningful and representative results, I would pick survey candidates using some form of reliable sampling technique, such as stratified or random sampling. I also feel the question that I asked did not go far enough and that I should have also asked “What is the advert trying to say?”, “Is it set in our world?”, “What are the key images of this advertisement?”, “What product is being advertised and how do you know this?”. Asking these questions as well would probably overcome the problem I had with some people who seemed unwilling or unable to provide an answer to my main question due, in my opinion, to it being too open. The extra questions would help raise some of the points which should be included in the answer to the question “what is going on in the ad?” but are often not because survey interviewees need more direct questions to give fuller answers.

Paul Messaris observes “surrealism is sometimes thought of as a representation of dream imagery and, therefore, as a source of various hidden meanings” (Messaris 1997, 9). By this it is expressed that the fantastic nature of this advert will ask the viewer to look deeper into it to try and uncover the truth of what it all signifies. I agree with this statement because my chosen advert was enigmatic and bizarre from start to finish and I know that it stayed in the minds of my survey interviewees long after viewing. Like a good mystery film, they took the commercial with them mentally to try to gain a better understanding of it, like an addictive puzzle that may or may not be solved.

Dr Daniel Chandler has suggested that we open up and allow more free-ranging interpretation of images we know to be intended as a work of art (Chandler, 1997: WWW). The Playstation 2 advertisement was obviously created for commercial purposes which some would argue prevent against it being a work of art. But Lynch is recognised as a true artist filmmaker - an auteur. If this idea of Lynch as an artist is applied to the advertisement and we consider it as a work of art then we may open up to further interpretations. Informing interviewees that what they were about to watch was an advert only forced them to limit their interpretations.

The prior knowledge of the younger age groups of surrealist films, television and perhaps most relevantly computer games, gives them the logistics they need to decipher the commercial more effectively and easily than the majority of older people. This makes sense as the advert can be interpreted by the target audience of the product. The text which reads “The Third Place” is symbolic of the unknown, possibly a third dimension - but whatever it refers to it is not in the real world. Those three words sum up the advert and explain everything that needs to be explained.



References


Chandler, Daniel (1998): 'Visual Perception' [WWW document] URL https://www.aber.ac.uk/media/Modules/.../visindex.html
(01/05/04)

(HTW) (2004): 'ITV: A (Very) Brief History' [WWW document] URL https://www.htw.info/itv.html
(01/05/04)

Messaris, Paul (1997): Visual Persuasion: The Role of Images In Advertising. Sage

Sukhatme, Shirish: 'Visual Perception – Gestalt principles of organisation' [WWW document] URL https://www.artinarch.com/vp12.html
(02/05/04)

(Wikipedia) (2004): 'Wikipedia: The Free Encyclopedia – Television Commercials' [WWW document] URL https://en.wikipedia.org/wiki/Television_commercial
(01/05/04)

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The different uses of the computer
Questionnaire results
Number of informants : 35 ( male and female )
Age : between 15 and 17,
Question Yes No
1. do you have your own computer ? ____ ____
2. what do you use your computer for ?
• Office/Business ( )
• Gaming ( )
• Internet/Email ( )
• Photo/Video Editing ( )
• Social Networking ( )
• Education ( )
• Development/Programming ( )
3.how many hours do you spend on a computer each day ?
3 hours ( ) ; 2 hours ( ) ; 4 hours ( )
4. do you have the internet in your own computer ? ____ ____
5. So, How many hours do you spend in internet "chat" groups each day?
2 hours ( ) ; 3 hours ( ) ; 4 hours ( ) ; 5 hours ( )
6. In general, how positive or negative an experience for you is it to work with computers?
Positive ( ) ; negative ( )


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