Qualitative and Quantitative Research in Television Audiences and Popular Factual Entertainment (Award Number R )

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Qualitative and Quantitative Research in Television Audiences and Popular Factual Entertainment (Award Number R000223220) End of Award Report Background The project is concerned with the development of factual entertainment in the UK and audience responses to hybrid genres within popular factual television. Popular press and academic discussion of factual entertainment has focused primarily on the model that it is voyeuristic in nature, and often an example of lowest common denominator television. It is commonly assumed that audiences cannot tell the difference between information and entertainment in factual programming, and are unsure about the difference between fiction and reality. With such concern regarding audiences and factual entertainment it is therefore necessary to explore the development of this genre, and audience relationships with these types of factual output. There is a scarcity of empirical evidence regarding audiences and factual entertainment, and the project was devised to provide information and analysis regarding viewing preferences and strategies across all age ranges for a variety of programming, available on terrestrial, satellite, cable and digital television. Thus, the project employed quantitative and qualitative audience research, in conjunction with analysis of the scheduling, content and form of programmes. The decision to consider a wide range of programmes and viewers over a one year period was made in order to provide comprehensive analysis of the transitional terrain of factual entertainment as a genre, and audience responses to a variety of hybrid formats, e.g., infotainment, docusoaps, and documentary gameshows.

Objectives The project was developed with three main objectives, which have been addressed in the research. The following discussion outlines the approach to these objectives and how they have been met: 1. The preparation for empirical audience research was located in an analysis of the form and content of selected popular factual programmes, taking into account degrees of hybridity, and portrayal of topics and issues such as healthcare, law and order, and privacy. My intention to consider accuracy and ethics by comparing the rules and guidelines for reality TV by different production companies was modified in practice. This is because the development of a new hybrid format documentary gameshows and its subsequent popularity across multimedia platforms, widened the scope of the original genre analysis, and by necessity became a significant new site of analysis. Whilst consideration of producer s guidelines and regulatory guidelines were taken into account, my analysis was primarily located in understanding how hybrid formats raised issues of accuracy and ethics, especially in relation to documentary gameshows. In addition, it became apparent that analysis of scheduling was essential to an understanding of genre development, and audience attraction to factual entertainment. Finally, the range of programmes for analysis was widened to include lifestyle programming, as consultation with programme makers and regulators, and my pilot audience studies, indicated that audiences categorised lifestyle programmes, such as Changing Rooms, within the genre of factual entertainment. Thus, to bracket out lifestyle programming would be to defeat the primary objective of this research to understand audience responses to a range of popular factual television.

2. The focus of the research was to investigate the attraction of factual entertainment, in particular emergency services, medical, crime and docusoap programmes. For reasons stated above, documentary gameshows, including convergence with internet platforms, were added to the above list, as well as lifestyle programming. This investigation has been completed, drawing upon the quantitative and qualitative data collected during 2000-2001. The data from the quantitative survey, conducted using the national sample of the Broadcaster s Audience Research Bureau (BARB), enabled us to gather a large amount of information on audience preferences for form and content within factual entertainment, across multimedia platforms, and audience attitudes to issues such as privacy, accuracy, information and entertainment. On the basis of what I learnt about audience attraction to factual entertainment in the survey, I used the qualitative focus groups to explore key areas of interest relating to preferences for popular factual programmes, the hybridisation of content, audience cynicism regarding authenticity in factual entertainment, the performative elements of docu-soaps and documentary gameshows, and attitudes towards information in factual entertainment. 3. My intention to examine the social context of the viewing environment, and the significance of personal history and everyday work and leisure routines on the viewing experience of reality programming, was subject to minor modification in practice. The significance of personal experience in relation to the attraction of factual entertainment was explored in the quantitative survey and focus groups. When I conducted the family in depth interviews over a six month period, I observed family viewing practices, and everyday work and leisure routines. The data I collected during this period provides for a thick description of the relationship between scheduling, family routine, and content of popular factual programmes. In addition, I explored emergent issues from the focus groups relating to information in popular factual programmes, and also the performance of non-professional actors in documentary gameshows. My participation in watching television within the family home, over a six month period, illuminated the significance of chat, or gossip, relating to nonprofessional actors in popular factual programmes, and confirmed my

understanding from the focus groups that discussion surrounding performance is central to the attraction of new hybrid formats in factual entertainment. I came to realise that a wider sample would have given me further information regarding the social context to watching factual entertainment, however this was beyond the scope of this study. Methods This project used a multi-method approach, combining quantitative and qualitative techniques to gather data and subsequent analysis of television audiences and factual entertainment. The main methods used, a quantitative survey, semi-structured focus groups and in depth interviews, are common methods used in audience research, but have not been used in such a comprehensive way in relation to the field of factual entertainment. Thus, the data collected from the empirical research offers new information and analysis of general audiences and popular factual television (see Results ). All the objectives have been met because of the rich and extensive empirical data collected during a particular period in the development of the genre of factual entertainment (2000-2001). Indeed, the data provided for a more comprehensive and well grounded account of a transitional period in factual entertainment, and in audience responses to hybrid formats, than was initially expected. This is due to the appropriateness of the methods used to study this subject, and the timing of the project, which coincided with a unique year in the life of popular factual programming. In only one case did I feel the data lacking, and this was with regard to the social context of watching factual entertainment, where the sample size for participant observation restricted further in depth analysis of a variety of home environments. As a larger sample size was beyond the remit of this study, this is commented on further in the section Future Research Priorities. The first stage of research relied on industry analysis and visual analysis. I used available television guides to assess the scheduling of a range of factual entertainment across days, weeks, months and seasons. I analysed the form and content of selected popular factual programmes, obtaining copies of individual programmes and whole

series by recording live programmes, and by requesting previously aired and to be aired programmes from production companies. I also consulted production companies on programmes in production, specifically Big Brother. This data allowed me to produce a comprehensive account of the range and type of programmes available to viewers at particular times, and to gauge which categories of factual entertainment viewers would be familiar with during the main data collection period (Autumn 2000 Summer 2001). The data also allowed me to navigate my way through the wide range of programming, charting existing sub genres (infotainment and docu-soaps), and responding to new developments within the genre, (documentary gameshows). The second stage in the audience research involved a national survey of audience preferences for, and attitudes to, factual entertainment in the UK. This survey was funded by the Independent Television Commission (ITC), and the ITC were consulted on the design of the survey, which contained a series of closed questions relating to audience preferences for form, content, sub genres, and use of multimedia, and audience attitudes towards issues of privacy, information, and entertainment in popular factual programming. The survey was a self-completion questionnaire, and was distributed by BARB to a representative sample of 8216 adults (16-65+) and 937 children (4-15) during August 2000. The data collected allowed me to develop a source of information on the general public and their preferences for and attitudes to a range of factual entertainment in the UK. I analysed the data from a number of perspectives, looking at programme types and content, and audience attitudes and comparing this data with key demographic information relating to age, gender, class, education, households with/without children, and ethnicity. With regard to ethnicity, the sample of ethnic respondents is too small in the BARB sample to allow for any useful analysis. The analysis of the quantitative data drew out key themes regarding audience responses to genre, and issues relating to privacy, information, actuality, and performance (see Results ). A report was compiled for the ITC in December 2000, outlining the key findings, this is listed in the section Outputs, and a copy of this report has been submitted. The third stage of the audience research involved semi-structured focus groups, where the results of the survey were used to design focus group interviews with children (aged 11-14), young adults (aged 15-18) and adults (aged 18-44), who defined

themselves as regular viewers of factual entertainment, and were in the C1C2DE social category. I selected these participants because the results of the survey indicated that regular viewers of factual entertainment were primarily in the above categories. The primary aim of these focus groups was to explore audience attraction to different types of popular factual programming, and to understand what strategies they used to watch hybrid formats within the genre. The focus groups were part funded by Channel 4, who were consulted on the design of the focus group interviews, which contained a series of open questions relating to viewer responses to sub genres within factual entertainment, the use of non-professional actors, and issues relating to information and entertainment in hybrid formats. Twelve focus groups were conducted in London, each group containing 7-8 participants, and were divided according to age, gender, and access to terrestrial, or satellite/cable/digital television. I selected these groups because the data from the survey indicated that age and gender were key variables relating to audience attraction to factual entertainment, and it was necessary to consider a range of programming available across television platforms. Following an initial coding of the transcripts, I conducted a more discursive analysis that considered group dynamics as well as substantive judgements. The insight that participants gave me into the viewing strategies for hybrid formats and audience evaluation of a genre has been invaluable. A report was compiled for Channel 4 in March 2001, outlining the key findings, this is listed in the section Outputs. The final stage of the audience research involved in depth interviews with ten families, with children of varying ages, over a six month period (recruited from the focus groups). Four visits were made to the family homes during January to July 2001. Combinations of methods were used - open discussions, observation of families, and participation in watching programmes - in order to understand the social context to watching factual entertainment. In addition, key issues that arose from the focus groups relating to information/entertainment were explored further during the family visits. In my selection of interview subjects, the types of questions asked during the visits, and the timing of the visits, I were guided by a desire to follow new developments within the genre, and to further understand how family viewers responded to these developments in the home environment. Interviews were logged, and partially transcribed, and field notes written up during and after the period of data collection. The in depth interviews provided a wealth of rich data and thick

description, and allowed further flexibility for the project to assess the popularity of, and responses to, new hybrid formats and more familiar formats within factual entertainment. The data was particularly helpful in confirming the evidence of the survey and focus groups regarding the appeal of factual entertainment to family viewers. However, the size of the sample restricted further exploration of how audiences respond to popular factual television across a range of household environments, i.e. student households, retired households. Although this was outside the remit of this study, I felt a wider sample would have yielded richer results regarding the social function of factual entertainment. Results The focus of this study is an original one, in that research in audience responses to factual entertainment in the UK provides invaluable information and analysis for understanding the transitional terrain of factual entertainment as a genre, and audience responses to a variety of hybrid formats. The results of this research can potentially inform future studies in factual broadcasting, and enhance critical understanding of genre and television audiences. The key results address three areas that were identified in the original proposal: genre, audiences and social context. There is a degree of overlap between these areas, as the results of the audience research inform an understanding of genre development and the social context of watching popular factual television. 1.Genre A. Sub-genres within factual entertainment The study began with an investigation into the different types of programmes that are part of the genre of factual entertainment. The study quickly had to take into account new developments in the genre, and to acknowledge the difficulty in applying a framework to a genre in transition. After consultation with media professionals, regulators and academics it was clear there was no agreement as to the categorisation

of these various types of programmes, although there was an understanding that some programmes fitted into leisure programming, whilst others fitted into reality programming. In order to navigate the range of programmes available, I defined three sub-genres within factual entertainment by analysing communicative form and programme design. These sub-genres were identified as: Observation programmes, often about watching people in everyday places (e.g. Airport); Information programmes, often using true stories to tell us about something, like driving, first aid, or pets (e.g. 999); and Created for TV programmes, often about putting real people in a manufactured situation, like a house or an island, and filming what happens (e.g. Big Brother). I was able to chart audience preferences for these sub-genres in the quantitative research. The sub-genres of factual entertainment liked most by the general public were: observation (67%) information (64%) and created for TV (28%). B. Audience evaluation of factual entertainment I explored issues relating to genre in the qualitative research. I found viewers to be evaluators of the genre of factual entertainment. Audiences were aware of a fact/fiction continuum and applied a sliding scale of factuality to popular factual programmes. Thus, at the far end of the continuum was news and current affairs, and at the other end was documentary game show. Viewers debated the epistemological claims of much popular factual programming, especially programmes such as Big Brother or Popstars that came under the created for TV category. C. Responses to hybrid genres I found that viewers have contradictory responses to factual entertainment. On the one hand audiences value witnessing events caught on camera, and judging events based on degrees of actuality in popular factual programming. On the other hand, viewers judge the performance of real people in relation to the actuality of a programme. The more people perform in front of cameras, the less real a programme is. They expect non-professional actors to act up in much popular factual programmes. Audiences have therefore developed viewing strategies which assess the improvised performance of real people by looking for moments of authenticity when the performance breaks down and people are true to themselves. Such moments usually occur during

scenes of emotional conflict and are often to be expected in new hybrid formats within factual entertainment. I also assessed how audiences judge the informative elements in factual entertainment, and whether information is valued in hybrid formats which draw on fictional or leisure formats for entertainment. My analysis of the data indicated that audiences have contradictory responses to information in factual entertainment. On the one hand, they value informative elements within the genre, and associate information with the public service role of television in the UK. However, they consider much popular factual programming, especially the created for TV category, to be entertaining rather than informative. When viewers discuss informative elements in particular programmes, discussion centres around the deployment of knowledge, such as practical tips for viewers. For example, programmes about consumer issues, or the home environment are thought to be informative because viewers can relate to them, and store information, or ideas, for later use. Audience responses to information/entertainment relates to the content of much popular factual programming which encourages viewers to improve their knowledge of healthcare, home improvement, personal appearance, or working practices. These contradictory responses to popular factual television connect with the inherent tensions between fact and fiction within the genre as a whole, and the transitional nature of the genre at this period in time. This is something I wish to highlight in my published studies. 2. Audiences A. Audience Preferences The key factors in the attraction of factual entertainment relate to form, content and scheduling. The genre as a whole has mass appeal, with over 70% of children and adults (aged 4-65+) watching factual entertainment on a regular or occasional basis. The format of factual entertainment is accessible to viewers, with self-contained, short segments, and/or serialised stories with strong, identifiable characters. In particular, viewers are attracted to witnessing events caught on camera, other factors such as

reconstructions, presenters, or interactivity are much less popular with viewers. Although audiences value events caught on camera, they dislike the use of intrusive cameras. What is meant by intrusive is open to discussion, but is primarily understood in relation to ethical treatment of non professional actors in emotionally difficult situations, especially in programmes concerned with healthcare. Audiences generally consider the content of factual entertainment easy to relate to because most programmes centre on domestic/leisure sites, and on everyday issues. Audiences prefer factual entertainment about law and order, homes and gardens, public places, and healthcare. A popular feature of factual entertainment is seeing behind the scenes, especially in public places such as airports. Finally, the scheduling of factual entertainment is significant to its popularity with viewers, especially families, as these programmes are usually scheduled at peak times during the evening. A more focused look at audience preferences reveals two key profiles relating to gender and age. Regular viewers of factual entertainment are more likely to be female, aged 16-40, and come from the C2DE social grade. Women are particularly likely to watch healthcare and homes and gardens programmes with the family on a regular basis. The gender profile for regular viewers relates to allocation of parental duties within the home, as adults living in households with children are more likely to watch factual entertainment programmes, and enjoy all elements of these programmes format and content more than adults not living with children. When it comes to age, young adults have a greater liking for the created for TV category than children or adults, and are more likely to enjoy documentary gameshows that show people in emotionally difficult situations. The data suggests age may be a determining factor in shaping future audience expectations and viewing strategies for this genre (see 'Future Research Priorities ). B. Multimedia The converging elements of factual TV and the internet failed to enliven the general TV audience during 2000-2001. This is because audiences were primarily interested in watching popular factual programmes on television, and engaging in conversation about characters and events with family and friends during live transmission. However, those viewers who were most interested in accessing the internet, mobile

phones, or digital interactive television were young adults. As popular factual programming explores how to use interactive elements, and multimedia platforms in more effective and accessible ways, this aspect of factual entertainment may become more popular across a wider range of audiences (see 'Future Research Priorities ). 3. Social Context A. Social viewing The social context of watching factual entertainment are linked directly with form, content and scheduling, as discussed above. The widespread appeal of popular factual programming, the focus on characterisation within hybrid formats, such as docu-soaps and documentary gameshows, and the peak time scheduling of programmes, are all ingredients which make for a primarily social viewing environment. Indeed, factual entertainment provides a social talking point, as the mass appeal of programmes such as Popstars engenders public discussion of factual TV in the home and workplace. Discussion centres on the performance of non professional actors, the development of characters within series, and social behaviour. Furthermore, public awareness of the genre of popular factual TV is heightened during a media event, as audiences are more likely to discuss issues, such as ethics or privacy, when a media event like Big Brother, or Popstars, occurs. The consumption of extra textual products, such as music compilations from popular series, is an added factor in increasing awareness and discussion of this genre. B. Personal experience Television audiences draw on personal experience to influence their decisions to watch particular programmes, and to aid discussion of events and characters within programmes. Drawing on qualitative and quantitative data, I found that audiences are more likely to watch popular factual programmes which they have a personal connection with, although this connection can be interpreted in a broad way. Thus, I found that viewers with experience of parenting, were more likely to watch programmes that were concerned with childhood. In my analysis of the empirical data, I found that much content in programmes about healthcare, homes and gardens,

and law and order, relates to an ethics of care. When watching such programmes, audiences store information or ideas for the care of their family, friends and home environment. In relation to this, I noted that much content in factual entertainment underscores socially appropriate ways to behave in public/private places. When watching such programmes, audiences compare their own social behaviour with the performance of real people, usually highlighting the differences between non professional actors and themselves in order to foreground their own socially appropriate behaviour. In summary, my account of the results of this project in future publications will foreground the connections between the genre of factual entertainment, audience responses to hybrid formats, and the significance of social context in order to inform critical understanding of factual broadcasting. Activities I have organised and attended national and international seminars, conferences and symposia on the theme of British media and popular factual television in order to disseminate the findings of this project to media professionals, regulators and academics. 1. With funding from CCIS, University of Westminster, and the Voice of the Listener and Viewer (VLV), I organised a one day symposium: VIEWING FACT OR FICTION? Popular Factual Entertainment, Editing and Editorial Policy. The symposium addressed industry, academic and public concerns about the popularity of reality television, and invited professional broadcasters, regulators and senior academics to address concerns relating to editorial standards and blurred boundaries in factual TV. Key speakers included: Phil Harding, Director of Editorial Policy at the BBC, Jeremy Mills, from Lion Television, Peter Bazalgette, from Bazal, Andrea Millwood Hargrave, Director of Research, Broadcasting Standards Commission (BSC), Robert Towler, Head of Audience Research, Independent Television Commission (ITC), Jocelyn Hay, Chairman of the VLV, Professor John Corner

(University of Liverpool), Dr Richard Kilborn (University of Stirling). The symposium was well attended by media professionals, regulators and academics, and was a useful opportunity to consult with experts in the field during the early stages of the project. 2. The BSC organised a seminar on Informed Consent (21 June 2001) with invited academics, including myself and Caroline Dover, to present research findings on ordinary people in British television to a select audience of over forty television producers, regulators and academics. Summaries of papers were circulated in advance, and the delegates were asked to comment on how programme makers develop good practice regarding non-professional actors, and how audiences relate to these programmes. A report was submitted to the BSC by Professor Jay Blumler summarising the issues and contributions to this seminar, and proved a useful assessment of the variety of views of factual entertainment by producers, regulators and academics. 3. I attended national and international academic conferences and seminars at which she presented material from the project. These included: Society for Cinema Studies, Denver, Colorado, USA 23-26 May 2002 (panel organiser and panel speaker); MECCSA, London, UK 11-13 January 2002 (panel organiser and panel speaker); Media@LSE seminar series (invited speaker); Big Brother Symposium, Brussels, Belgium 13-15 December 2001 (invited speaker). Forthcoming conferences include IAMCR, Barcelona, Spain 21-26 July 2002, and Visible Evidence, Marseilles, France 11-15 December 2002. 4. A summary of the research findings from this project has been submitted to the CCI, University of Westminster website which is currently being redesigned.

Outputs The publications arising from this project are listed in full below. These publications are aimed at media professionals, regulators and academics, and react to interest and concern in how audiences respond to popular factual TV, especially new hybrid formats such as Big Brother. These concerns relate to a number of issues. First, the popularity of all types of factual entertainment across the TV schedules raises concerns about the attractions of these programmes. Second, new developments in factual entertainment challenge traditional values associated with the documentary genre, and highlight a fact/fiction continuum, with new formats such as Big Brother closer to the fictional end of the continuum. I have argued that audience responses to factual entertainment are contradictory in nature. On the one hand audience relationships with popular factual programmes highlight issues of self-presentation and deployment of knowledge. On the other hand, audiences evaluate the genre and debate the epistemological and ethical claims of factual TV on an everyday basis. The following publications attempt to address these issues and provide information and analysis that is of interest to a variety of users. Books 1.In preparation: Real TV: Television Audiences and Factual Entertainment by Annette Hill (Routledge September 2003) Chapters in Books 1. In preparation: Redefining Factual: Reality TV in Transition by Annette Hill and Caroline Dover in Su Holmes and Deborah Jermyn (eds.) From Here to Reality: Reality TV and its Contexts (Routledge 2003) 2. In preparation: Believe it or Not?: Television Audiences and Factual Entertainment by Annette Hill and Caroline Dover in Derek Paget and Jane Roscoe (eds.) Playing for Real, Visible Evidence Series (University of Minnesota Press 2003)

Journal Articles 1. Big Brother: The Real Audience by Annette Hill, Television and New Media, August 2002, Vol 3, Issue 3: pp323-340 (Sage Publications). 2. In preparation: Pet Deaths: Human-animal Relationships and Factual Entertainment by Annette Hill, to be submitted to Media, Culture and Society. Editorial Work 1. Guest editor (with Gareth Palmer) of a special issue of Television and New Media on Big Brother, August 2002, Vol 3, Issue 3 (Sage Publications) Industry Reports 1. ITC Survey of Television Audiences and Factual Entertainment by Caroline Dover and Annette Hill, submitted to ITC November 2000. 2. Focus Group Research in Television Audiences and Factual Entertainment by Caroline Dover and Annette Hill, submitted to Channel 4 March 2001. Impacts Extensive links have been developed with the potential users of the research, in particular members of the steering group, and additional funders of the project. Midway through the project, reports were submitted to the ITC and Channel 4 respectively, outlining the key findings of the quantitative and qualitative audience research undertaken. Details of the ITC report were also sent to national broadsheet newspapers, and findings related to Big Brother were reported in several articles. At the BSC seminar mentioned above, a summary of the Channel 4 report was given to forty media professionals, regulators and academics who attended the event. I have also attended meetings with other media professionals at LWT and the BBC in order to make contact with users who were not actively engaged with the project. A draft copy of the journal article Big Brother: the Real Audience was circulated to the

BSC, ITC and Channel 4, members of the steering group, and other academics in the field. Future Research Priorities Further studies into all types of factual television, taking into account the continuum between news and current affairs, documentary and popular factual programming, are necessary for a full understanding of audio visual documentation. There is an inadequate record of the cultural production, distribution, and consumption of factual television. In particular, attention should be given to the form and content of factuality across multimedia platforms, and how audiences and users respond to these media products. Further exploration of age as a determining factor in shaping future audience expectations and viewing strategies for audio visual documentation, is also necessary in order to chart changing responses to factual media. My research captures a particular period in time, and raises issues as to whether audience responses to factual entertainment are determined by socio-historical factors, lifestyle, industrial factors, or a combination of the above. The findings indicate that young adults have slightly different attitudes and responses to factual entertainment than adults. As popular factual programming develops, and explores how to use interactive elements, and multimedia platforms in more effective and accessible ways, the question remains whether such attitudes and responses are carried over into adulthood. I am hoping in my new study to explore changing values to factual programming, and one way to do such a study is to examine age profiles, focusing on young adults and adults who are semi retired/retired, in order to assess changing responses to news, current affairs, and popular factual programming across multimedia platforms in the UK. Finally, in depth research into a range of social environments for watching and using audio visual documentation, would aid understanding of the inter-relationship between factual television and public/private life. Research into the possible social functions of this genre, is an area I would like to signal for future enquiry.

REGARD Qualitative and Quantitative Research in Television Audiences and Popular Factual Entertainment (Award Number R000223220) The following documentation has been submitted to REGARD using the online submission forms, accessed June 2002: Journal Articles 1. Big Brother: The Real Audience by Annette Hill, Television and New Media, August 2002, Vol 3, Issue 3: pp323-340 (Sage Publications). Industry Reports 1. ITC Survey of Television Audiences and Factual Entertainment by Caroline Dover and Annette Hill, submitted to ITC November 2000. 2. Focus Group Research in Television Audiences and Factual Entertainment by Caroline Dover and Annette Hill, submitted to Channel 4 March 2001. Conferences 2002 Society for Cinema Studies, Denver Colorado, USA 23-26 May 2002 Panel Speaker: Real TV: Audience Responses to Factual Entertainment 2002 MECCSA, London, UK 11-13 January 2002 - Panel Speaker: Real TV: Audience Responses to Factual Entertainment 2001 Invited Speaker, Big Brother Symposium, Brussels, Belgium 13-15 December 2001 - The Real Audience: viewer responses to Big Brother UK 2001 International Media Conference, London 25-29 th July 2001 - The Real Audience: viewer responses to Big Brother UK 2001 Console-ing Passions, Bristol, 5-8 July 2001 Believe it or Not: Television Audiences and Factual Entertainment 2001 Invited Speaker, Informed Consent Seminar, Broadcasting Standards Commission, 21 June 2001 Believe it or Not: Television Audiences and Factual Entertainment 2001 Society for Cinema Studies, Washington DC USA, 24-27 May 2001 The Real Audience: viewer responses to Big Brother UK